A manual for Mindful Focusing—a new integration of Western psychology and Buddhist mindfulness techniques for accessing your inherent wisdom and solving life’s problems Ever come up against one of those moments when life requires a response—and you feel clueless? We all have. But there’s good news: you have all the wisdom you need to respond to any situation, even the “impossible” ones. It’s a matter of tuning in to your felt sense: that subtle physical sensation that lives somewhere between your (...) conscious and subconscious mind and that can be accessed through Focusing—the well-known method developed by the psychologist Eugene Gendlin. David Rome’s technique of Mindful Focusing unites Gendlin’s method with Buddhist mindfulness practices to provide a wonderfully effective method for accessing your felt sense—so you can problem solve, deal with challenges, and respond honestly and creatively to the world around you. (shrink)

Fields of enquiry. Rome Harré on What is social science -- Toby Miller on Cultural studies -- Lawrence Sherman on Criminology -- Jonathan Haidt on Moral psychology -- Robert J. Shiller on Behavioural economics -- Births, deaths and human population. Sarah Franklin on the Sociology of reproductive technology -- Ann Oakley on Women's experience of childbirth -- Sarah Harper on the Population challenge for the 21st century -- Steven Pinker on Violence and human nature -- Social science through different (...) lenses. Gregory Clark on Names -- Robin Dunbar on Dunbar numbers -- David Goldblatt on the Sociology of football -- Trevor Marchand on Craft -- Bruce Hood on the Supernatural -- Doreen Massey on Space -- Politics and social science. Craig Calhoun on Protest movements -- Danny Dorling on Inequality -- Kate Pickett on the Case for equality. (shrink)

A highly original history, tracing civil war, the least understood and most intractable form of organized human aggression, from Ancient Rome through the centuries to present day.

Foreword: Synchronicity is more than a happy accident by Brian Tart -- The quest -- Cycles of history and the law of one -- What is synchronicity? -- Understanding the sociopath -- The global adversary -- Karma is real -- Reincarnation -- Mapping out the afterlife -- The hero and his story -- The first and second acts of the hero -- Facing your fear and completing the quest -- Joan of arc rises again -- The 2,160-year cycle between (...) class='Hi'>rome and the usa -- Vietnam, watergate and the fall of the iron curtain -- The sky is not falling-only our blindfolds -- September 11th-from both sides of the veil -- The thirteen years' war repeats in america -- 9/11 and the defeat of the cabal-the cycle perspective -- History gets a wicked case of deja vu -- Fomenko's cycles of history-and the Book of Daniel -- Explaining the cycles and the fourth-density shift. (shrink)

impermissibly favorable to Jews? -- Humanist origins -- Humanism at court -- Discovery of Hebrew -- Johannes Pfefferkorn and the campaign against Jews -- Who saved the Jewish books? -- Inquisition -- Trial at Rome and the Christian debates -- The Luther affair -- As if the first martyr of Hebrew letters.

impermissibly favorable to Jews? -- Humanist origins -- Humanism at court -- Discovery of Hebrew -- Johannes Pfefferkorn and the campaign against Jews -- Who saved the Jewish books? -- Inquisition -- Trial at Rome and the Christian debates -- The Luther affair -- As if the first martyr of Hebrew letters.

Summary This article argues for the usefulness of recent scholarship on democratic decay (especially in the disciplines of political science and constitutional law) for explaining the breakdown of Rome’s res publica during the 50s BCE, with a particular focus on Steven Levitsky and Daniel Ziblatt’s “How Democracies Die” (2018). Using “democracy” in the neo-republican sense of government free from domination, Levitsky and Ziblatt show how the actions and reactions of political actors can damage a political system without any intention (...) to overthrow it. This article combines their insights with concepts from Christian Meier’s “Res Publica Amissa” (2nd edition 1980) to analyse Caesar’s first consulship in 59 BCE. After explaining how the theory can responsibly be applied, it closely examines the major events of the year, especially the contest over the agrarian law. Caesar’s actions throughout the year demonstrate Levitsky and Ziblatt’s warning signs for a potential authoritarian, as do those of the opposition. This analysis helps us more clearly understand just how the events of “the consulship of Julius and Caesar” (Suet. Iul. 20.2) contributed to Rome’s democratic decay in succeeding years. The article connects to much recent work on late-republican political institutions. It also helps make this dramatic period of Roman history comprehensible to political scientists by analysing it in their own theoretical terms. (shrink)

In this collection of provocative essays, historians and literary theorists assess the influence of Michel Foucault, particularly his History of Sexuality, on the study of classics. Foucault's famous work presents a bold theory of sexuality for both ancient and modern times, and yet until now it has remained under-explored and insufficiently analyzed. By bringing together the historical knowledge, philological skills, and theoretical perspectives of a wide range of scholars, this collection enables the reader to explore Foucault's model of Greek culture (...) and see how well his interpretation accounts for the full range of evidence from Greece and Rome. Not only do the essays bring to light the assumptions, ideas, and practices that constituted the intimate lives of men and women in the ancient Mediterranean world, but they also demonstrate the importance of the History of Sexuality for fields as diverse as Greco-Roman antiquity, women's history, cultural studies, philosophy, and modern sexuality. The essays include "Situating The History of Sexuality" (the editors), "Taking the Sex Out of Sexuality: Foucault's Failed History" (Joel Black), "Incipit Philosophia" (Alain Vizier), "The Subject in Antiquity after Foucault" (Page duBois), "This Myth Which Is Not One: Construction of Discourse in Plato's Symposium" (Jeffrey S. Carnes), "Foucault's History of Sexuality: A Useful Theory for Women?" (Amy Richlin), "Catullan Consciousness, the 'Care of the Self,' and the Force of the Negative in History" (Paul Allen Miller), "Reversals of Platonic Love in Petronius' Satyricon" (Daniel B. McGlathery), and an essay from Dislocating Masculinity (Lin Foxhall). (shrink)

This book is about love in the classical world -- not erotic passion but the love that binds together intimate members of a family and close friends, but may also include a wider range of individuals for whom we care deeply. Among the topics discussed are friendship, loyalty, gratitude, grief, and civic solidarity.

In this book, David Konstan argues that the modern concept of interpersonal forgiveness, in the full sense of the term, did not exist in ancient Greece and Rome. Even more startlingly, it is not fully present in the Hebrew Bible, nor in the New Testament or in the early Jewish and Christian commentaries on the Holy Scriptures. It would still be centuries - many centuries - before the idea of interpersonal forgiveness, with its accompanying ideas of apology, remorse, (...) and a change of heart on the part of the wrongdoer, would emerge. For all its vast importance today in religion, law, politics and psychotherapy, interpersonal forgiveness is a creation of the eighteenth and nineteenth centuries, when the Christian concept of divine forgiveness was fully secularized. Forgiveness was God's province and it took a revolution in thought to bring it to earth and make it a human trait. (shrink)

The fundamentals of Kahn's architectural philosophy begin with his personal history: his inherent talent; his family background and childhood experiences; his education, from elementary school through architectural school; the influences of Paul Philippe Cret and Beaux Arts architecture; and his travels, especially those to study the antique monuments of Egypt, Greece, and Rome. Because the causal aspects of these experiences were absorbed by him, rather than being the products of Kahn's own thinking, he rarely acknowledged them. His conclusions led (...) to a philosophy that echoed some of the thoughts of earlier philosophers, like Spinoza and Heidegger, but were arrived at independently.1 Kahn expressed his philosophy in lectures, seminars, writings, interviews, conversation, and often through sketches. However, he habitually expressed himself elliptically-his phrasing poetic, his metaphors original and apt. Therefore, his meaning was often felt rather than understood. Extensive studies of Louis Kahn's architecture exist, but few focus on his fully developed architectural philosophy.2 This text addresses that subject, incorporating his own words (in italics) and relating them where relevant to his final work, the Yale Center of British Art (hereafter, "the Center"). Kahn died during the construction of the building, the last material expression of his architectural philosophy. I was the first director of the Center, a participant in the selection of the architect and throughout the building's planning and creation. Coincidental with the early years of Kahn's planning for the Center, two young architectural historians-John Cook and Heinrich Klotz-interviewed several leading architects, including Kahn. Working with a verbatim transcript of the Kahn interviews, made by Karen Denavit, I produced an edited version of the interviews in book format. Louis I. Kahn in Conversation: Interviews with John W. Cook and Heinrich Klotz (hereafter, "Kahn in Conversation") is the source for many of the Kahn quotations included here. A researcher can consult the full, verbatim transcript of the interviews in the Center's Institutional Archives, in the Manuscripts and Archives collections in Sterling Memorial Library at Yale University, and in the Architectural Archives of the University of Pennsylvania. (shrink)

In the mid fourth century b.c. some Roman gentes drew on a Pythagorean tradition. In this tradition, Numa's role of Pythagoras’ disciple connected Rome with Greek elites and culture. The Marcii, between 304 and 300 b.c., used Numa's figure, recently reshaped by the Aemilii and the Pinarii for their propaganda, to promote the need for a plebeian pontificate. After the approval of the Ogulnium plebiscite, the needs for this kind of propaganda fell away. When Marcius Censorinus became censor, Numa's (...) pontificate was no longer relevant for promoting the gens. For this reason, the Marcii used another genealogy for similar propagandistic effect: the figure of Marsyas, a symbol of plebeian ideals. (shrink)

Summary Historians of all kinds are beginning to return to temporally expansive studies after decades of aversion and neglect. There are even signs that intellectual historians are returning to the longue durée. What are the reasons for this revival of long-range intellectual history? And how might it be rendered methodologically robust as well as historically compelling? This article proposes a model of transtemporal history, proceeding via serial contextualism to create a history in ideas spanning centuries, even millennia: key examples come (...) from work in progress on ideas of civil war from ancient Rome to the present. The article concludes with brief reflections on the potential impact of the digital humanities on the practice of long-range intellectual history. Summary Historians of all kinds are beginning to return to temporally expansive studies after decades of aversion and neglect. There are even signs that intellectual historians are returning to the longue durée. What are the reasons for this revival of long-range intellectual history? And how might it be rendered methodologically robust as well as historically compelling? This article proposes a model of transtemporal history, proceeding via serial contextualism to create a history in ideas spanning centuries, even millennia: key examples come from work in progress on ideas of civil war from ancient Rome to the present. The article concludes with brief reflections on the potential impact of the digital humanities on the practice of long-range intellectual history. (shrink)

This study uses university commentaries on Aristotle's Nicomachean Ethics as a window onto changing ideals and practices of education and of humanist Aristotelianism in Renaissance Italy, particularly in Florence, Padua, Bologna, and Rome (including the Collegio Romano).

Recent archival research has uncovered material that usefully explains why the French Jesuit Pierre Teilhard de Chardin was required to remain in China for so long, despite assenting to the Six Propositions. However, the context in Rome, existing narrative evidence, and aspects of the archival evidence make it more likely than not that the Holy Office had a role in his silencing. Proposition 4 advocated monogenism, whereas Teilhard was developing a monophyletic understanding of human origins, which is consistent with (...) recent attempts to situate Adam and Eve within an evolutionary account of these. The content of Proposition 4 exceeded existing magisterial teaching and requiring Teilhard's subscription to it suppressed legitimate theological debate. (shrink)

In _The Later Middle Ages,_ the third volume of his monumental _History of Political Ideas,_ Eric Voegelin continues his exploration of one of the most crucial periods in the history of political thought. Illuminating the great figures of the high Middle Ages, Voegelin traces the historical momentum of our modern world in the core evocative symbols that constituted medieval civilization. These symbols revolved around the enduring aspiration for the _sacrum imperium,_ the one order capable of embracing the transcendent and immanent, (...) the ecclesiastical and political, the divine and human. The story of the later Middle Ages is that of the "civilizational schism"—the movement in which not only the reality but the aspiration for the _sacrum imperium_ gradually disappeared and the unification of faith and reason dissolved. His recognition of this civilizational schism provides Voegelin with a unique perspective on medieval society. William of Ockham, Dante, Giles of Rome, and Marsilius of Padua all emerge in Voegelin's study as predecessors to modern thought; each turns to personal authority and intellectual analysis in an attempt to comprehend the loss of the _sacrum imperium_ as an authoritative ideal. Voegelin is further drawn into investigations that, despite insufficient attention by scholars, still bear relevance to the study of the later Middle Ages. The mysticism apparent in _Piers Plowman_ and the apocalyptic revolt of Cola di Rienzo are merely two reactions to the disintegration of wholeness. Yet the story of the later Middle Ages does not merely revolve around disintegration. Voegelin recognizes the emergence of the constitutional political tradition as the most positive development of this period. He is at his best when explaining the difference between the presence of a representative institution and the growth of communal consciousness. Voegelin's study of the English political pattern is matched only by his unique perspective on the German imperial zone, culminating in a fitting conclusion on Nicholas of Cusa—the one political thinker with the ability to evoke the unity of mankind beyond fragmentation. _The Later Middle Ages_ is at once a brilliant examination of the symbols that characterized medieval society and a remarkable predecessor to Voegelin's study of the modern world, beginning with the Renaissance and the Reformation. (shrink)

All too often, historians of the ‘Galileo Affair’ fail to recognize the dynamic – indeed, tumultuous – nature of the political landscape surrounding Galileo’s condemnation and the events leading to it. This was a landscape rent by the Thirty Years War, which dominated the affairs of Europe’s rulers, including Galileo’s patrons. In fact, Galileo’s publication of the Dialogo in 1632 could not have come at a more ill-advised moment: in the aftermath of the battle of Breitenfeld, the nadir of Catholicism (...) in Germany. Blame for this calamitous defeat fell on Galileo’s most important protector, Pope Urban VIII. Thus, when Galileo’s book appeared, Galileo became a useful example by which Urban could consolidate his severely weakened position. The Pope carefully crafted the public image of an unusual trial, at the expense of his old friend. Certainly, Galileo’s trial resulted from profound intellectual and political tensions that pervaded early modern Rome, but it must also be understood in light of the European exigencies of the moment. (shrink)

Il neotrascendentalismo di Giovanni Emanuele Barié - Giovanni Emanuele Barié, appointed Professor of Theoretical Philosophy at Milan University in 1937, is one of the most neglected figures in Italian philosophy of the last century. An exponent of late Italian idealism, it could be argued that only through his work, alongside that of others like Bernardino Varisco, Pantaleo Carabellese and Vito Fazio Allmayer, was Italian idealism able to reach full theoretical maturity. Born in Milan in 1894, before going to university, Barié (...) displayed great courage on the battlefield during the first world war. On his return, he first studied Law and then took a second degree in Philosophy under Piero Martinetti. In 1933, his La spiritualità dell’essere e Leibniz enabled him to obtain a university teaching post, first in Genoa, later in Rome and, finally, in Milan in the chair previously occupied by his mentor. The first period of Barié’s work is characterized by a re-evaluation of the Kantian a priori against the reductionist perspective of contemporary thought. Books like La posizione gnoseologica della matematica and Oltre la Critica belong to this stage in his life. From 1933, Barié started on an interpretation of Hegel with the intention of toning down the transcendental aspects of Kant’s and Martinetti’s thought. His most important writings from this period are L’io trascendentale and his last work Il concetto trascendentale , which came out in the same year the philosopher committed suicide. (shrink)

This chapter contains sections titled: Prehistory of Commerce Prehistory of Technology Prehistory of Slavery From Prehistory to History Rome and Christianity Acknowledgments.

Art restoration has been around as long as human beings have been involved with artifacts and works of art. Pliny mentions the Shrine of Ceres in the Circus Maximus at Rome.1 When the shrine was undergoing restoration, the embossed work of the walls was cut out and enclosed in framed panels, and figures were taken from the pediment and dispersed. Alteration, or the lack of it, clearly impacts the aesthetic appreciation of works of art, and the hermeneutics of that (...) debate are important in terms of both education and historical understanding.The purpose of this article is to survey the field of restoration and its interaction with problems of interpretation, aesthetic debate... (shrink)

The expressionpelle Libystidis ursae, which occurs atAen. 5.37 and 8.368, has caused a certain amount of puzzlement among scholars. This article will attempt to explain, through Virgil's allusions to Apollonius'Argonautica, the function ofLibystisas a pointer to the motif of the creation of a new homeland within a foreign territory, as is the case with Segesta and Rome. This idea is further developed by the two omens that forebode the foundations of Segesta and Rome, that is, the omen of (...) Acestes' arrow atAen. 5.522–8 and the weapon-omen atAen. 8.524–9, both of which are consistently associated with flames, comets, and lightning. These elements underline the symbolism of destruction, rebirth, and Jupiter's will that characterizes the foundations of Segesta and future Rome. (shrink)

The centrepiece of Cicero's De re publica is a discussion of justice. This discussion, which evokes the theme of the Platonic dialogue after which it was named, consists of a set of three speeches. It begins with a speech opposing justice, placed in the mouth of L. Furius Philus and alleged by him to be modelled on the second of a pair of speeches for and against justice delivered in Rome in 155 B.C. by the Greek Academic philosopher Carneades. (...) Philus' speech lays the dialectical foundation for the two subsequent speeches, a defence of justice as the prerequisite for government by C. Laelius, and an explanation of its role in various forms of government by Scipio Aemilianus. (shrink)

We need to give up single visions that are supposed to embrace social and place totalities. We live in overlapping nets rather than single places. We cannot plan unlimited geometrical vistas a la Versailles; but that was always an illusion, and today it would be an oppression. Can we still plan like Sixtus at Rome? Only if we also encourage other modes of organization at the same time. The whole may often end up more like Tokyo, with corners of (...) design and beauty that do not make an overall plan. (shrink)

‘Everyone who now reads and writes in the West, of whatever racial background, sex or ideological camp, is still a son or daughter of Homer.’ While the extent to which this claim is accurate has been disputed, it is not wrong in our own day to grant the highest honours for ongoing influence to the author of theIliad. All the more so in Late Antiquity, a period frequently viewed as hermetically isolated from the classical world, but which resolutely viewed itself (...) as part of that unbroken cultural and literary continuum. One of those who made repeated use of Homer's epic was the Emperor Julian, one of the most prolific writers among Rome's emperors. In the fourth centurya.d., Homer's influence was still predominant, not only being Julian's favourite and most frequently cited author but also forming for Libanius of Antioch ‘one of the pillars of rhetorical teaching’. Despite Glen Bowersock's statement that Julian's many writings offer unique insight into his character and disposition, Julian is still a historical character who is not easy to ‘know’. Julian's life was shaped by the murder of his father, brothers and uncles by a cabal involving, if not orchestrated by, his cousin Constantius II. This was followed by the removal of his trusted confidant Salutius, again by Constantius. These experiences exhibit an unusual phenomenon, in that, when Julian referred to them, they were prefaced by a spate of Homeric allusions. Julian's wrath at people taken from him was both genuine and politically useful, but the expression of it was dangerous enough that he expressed it obliquely in the language of Homer. These citations and allusions, drawn primarily from theIliad, were far more than Julian's flaunting of his education, but were rather a tool for subtly conveying his desired message, a message with strong political tones. I will treat these passages in the order in which Julian wrote them, although that places the events reminisced about in the reverse order. (shrink)

Johns Revelation wrestles with the question of how Jesus' followers were to live under the imperial domination of Rome. While some see John as establishing an alternative imperial system, attention to the irony with which the story is told reveals a more compelling critique of power.

In lieu of an abstract, here is a brief excerpt of the content: Classical Art: A Life History DAVID CAST This is a wonderful book, rich in its purposes, wide in its range and, thanks to the author’s home institution, Christ’s College, Cambridge, lavishly illustrated with images of objects, many familiar, some less so. And it is written with an elegance and clarity that belies the depths of scholarship in its history. The first letter of the subtitle suggests the (...) tenor of Vout’s account, that since every age has conjured up a different idea of the classical, what is here is yet one more such history, a modest if particular account of what was and is still there in the records made of the Greek and Roman past. The basic metaphor Vout uses to define the focus of this history is that of conversation, whether such conversing is seen to exist between the objects themselves or between the past and the present, between those objects that have outgrown their intended functions to become part of a canon that has dictated taste over the ages, as she puts it, shaping culture and culture’s questions. Thus conversation is here, plus also what Vout is not afraid, when necessary, to call the misappropriations and translocations of the Greek and Roman objects she takes note of. Yet another contribution she adds to the idea of the classical comes from what she calls, perhaps a little awkwardly, the long durée approach to its subjects, seen first when these objects were produced, then as they survived Christianity and the fall of Rome and Byzantium, the French Revolution, modernism and fascism, to live Caroline Vout, Classical Art: A Life History from Antiquity to the Present, Princeton University Press, 2018. xi + 376 pages; 80 color + 132 b/w illustrations. $39.50. ISBN 9780691177038; E-book ISBN9781400890279. arion 27.1 spring/summer 2019 on in galleries and auction rooms, making the heart soar and the blood boil, as Vout claims, even today. It is a complex story she has to tell, difficult yet valuable, and its method is nicely exemplified by the first example considered, the two statues, known as the Tyrannicides, dated to 477–476 BCE, and located now in the National Archaeological Museum in Naples, attributed on the museum caption to the sculptors Kritios and Nesiotes, and dated to 477–476 BCE. The details here are crucial for, on investigation, it is clear these are not the statues that were erected in the Athenian agora to honor the men, Harmodius and Aristogeiton, who, by tradition, had killed the tyrant’s brother Hipparchus. Yet even this second group, as she notes, had been a stand-in, since the first piece to honor these men, made by the sculptor Antenor, had been stolen by the Persians in the sack of Athens in 480–479 BCE. Nor is this group here the actual second group but rather a copy, made by an unknown copyist working under the Roman Empire. What we have here are what might be called pretenders—yet ones, despite doubts about their authenticity, that have long been taken to mark a particular moment in the formal history of Greek art, the advent of the so-called Severe style in Athens and the birth of the classical moment of sculpture. Any full account of these statues depends then on a rich history, plus a range of other events; the existence of ancient casts of the Tyrannicides during the Roman Empire, marking out such statues as art, rather than having still their first meaning; the prior history in the Renaissance of the acquisition of ancient sculpture as a sign of power; the sight of the figure of Aristogeiton, then in the Palazzo Farnese in Rome, by Johann Joachim Winckelmann; the building up of these statues from fragments of other statues; in 1859 the identification of these figures as the Tyrannicides; and finally a reading of classical texts, those of Pausanias, Pliny and Lucian, that spoke, even if in contradictory ways, of all the actors here, Antenor, Kritios and Aristogeiton. To which should be added the recent accounts of these pieces, provided by schol172 classical art: a life history ars of classical art like Brunilde Ridgway, R. T... (shrink)

The poets and prose-writers of Greece and Rome were acutely conscious of their literary heritage. They expressed this consciousness in the regularity with which, in their writings, they imitated and alluded to the great authors who had preceded them. Such imitation was generally not regarded as plagiarism but as essential to the creation of a new literary work: imitating one's predecessors was in no way incompatible with originality or progress. These views were not peculiar to the writers of Greece (...) and Rome but were adopted by many others who have written in the 'classical tradition' right up to modern times. Creative Imitation and Latin Literature is an exploration of this concept of imitation. The contributors analyse selected passages from various authors - Greek, Latin and English - in order to demonstrate how Latin authors created new works of art by imitating earlier passages of literature. (shrink)