Normal adults recall poorly social feedback that refers to them, is negative, and pertains to core self-aspects. This phenomenon, dubbed the mnemic neglect effect, is equivalent to inhibitory repression. It is instigated under conditions of high self-threat, it implicates not-thinking during encoding, and it involves memories that are recoverable with such techniques as recognition accuracy.
This paper documents a conversation between a philosopher and a human computer interaction researcher whose research has been enormously influenced by Wittgenstein. In particular, the in vivo use of categories in the design of communications and AI technologies are discussed, and how this meaning needs to evolve to allow creative design to flourish. The paper will be of interest to anyone concerned with philosophical tools in everyday action.
Constantine Zurayk, one of the most important Arab thinkers of the twentieth century, has examined and reflected on the principal political events and cultural crises of the period. His main philosophical theses are seen in relation to the "Kulturphilosophie" of turn-of-the-century German thinkers, in particular to the philosophies of life of Dilthey, Nietzsche, and Simmel and to the Neo-Kantian thought of Ernst Cassirer. Both the virtues and shortcomings of Zurayk's philosophy of culture, especially in the Arab context, are seen (...) in his distinction between, and elaboration on, the descriptive and normative approaches to culture. (shrink)
Les recours féminins en justice à Constantine ne sont pas rares à la fin du XVIIIème siècle. Cette contribution se propose de porter attention aux circonstances d'un recours de ce type au terme duquel le cadi prononce l'annulation d'un mariage. L'acte notarié qui en rend compte se prête à plusieurs niveaux d'analyse. On y peut lire une dénonciation des pratiques coutumières en vigueur dans l'espace urbain. On y peut voir également la façon dont des femmes font usage de la (...) justice du cadi en vue de défendre leur libre arbitre. Mais dans le même temps, la propension de celles-ci à faire valoir leur bon droit dans ce cadre, en contribuant à renforcer les attendus de la shari‘a, a pour conséquence de préserver la hiérarchie des catégories juridiques qui la fonde, et partant de perpétuer les rapports d'inégalité en droit entre les femmes et leurs pairs masculins. (shrink)
In the 1536 edition of the Opera omnia of Constantine the African , the editor, Henricus Petrus, published an opuscule entitled De mulierum morbis liber . Apparendy he thought that this brief tractate corresponded to the De genecia, a title included by Peter the Deacon in his list of Constantine's translations from the Arabic. Petrus said nothing about his manuscript sources, nor did he explain what had led him to believe that the De passionibus mulierum was a product (...) of Constantine's hand. (shrink)
H.-U. Wiemer opposes the image which Libanius gives of Constantine in his fifty-ninth oration to that which emerges from his later works, especially those of the Theodosian period when hostility is obvious, mirroring the opinion of pagan circles, who held this Emperor responsible for most of the calamities endured by the Empire in the fourth century. As the epideictic genre required, in 344/5 or in 348/9 the father had to be praised so that the sons could be praised too. (...) However, Wiemer claims that ‘the panegyric of 344/5 already foreshadows the critical view’, by remaining silent about Christianity, the founding of Constantinople, and the tax policy on the one hand, and on the other hand by clearly declaring Constantine responsible for the war against Persia, which troubled the entire reign of Constantius. I wish to supplement these remarks with a few others and to suggest that the portrait of Constantine in Oration 59 presents us with a case of ‘disguised intention’—a rhetorical proceeding based on ποδήλωσις and παραψόγους: the orator tries to convey a message that is different from his apparent intentions, even opposite to them. (shrink)
Many have written of imperial qualities perceived or publicized, particularly of those attached to the emperor Constantine. Although only a tediously exhaustive volume could do justice to the whole subject, and any essay which does not embrace the whole runs the risk of being faulted for some omission or other, one may yet justify a particular concern. The subject of the present paper is the tension between form and function, which appears nowhere so readily as in a series of (...) similar literary exercises spanning a number of years, and the demonstration that form will always yield to practical necessity. For example, the rise, fall, and rehabilitation of Maximian through seven of the Panegyrici Latini clearly illustrates the many functions of a standard form. Constantine's is a more complicated case which involves two kinds of form and a certain amount of Augustan posturing. (shrink)
The Royal Society possesses three long-focus simple lenses of diameters 195, 210 and 230 mm, all inscribed with the signature ‘C. Huygens’ and various dates in the year 1686. These prove to have been made by Constantine Huygens, the elder brother of the famous Christiaan Huygens. All three lenses have been examined by a variety of physical and chemical methods, both to define their optical characteristics and to establish the composition of dated samples of late-seventeenth-century Continental glass. The focal (...) lengths of 37·9, 50·1 and 65·2 metres found by combination agree with Huygens' own values of 122, 170 and 210 feet respectively, and are so great that practical employment of the lenses in aerial telescopes has rarely been achieved. All are made from the same very poor glass—a heterogeneous and discoloured potash-rich ‘forest glass’—with a refractive index of 1·516, a costringence of 60, and a density of 2·5 g cm−3. The three lenses were ground with just two concave laps, of radii of curvature 27·11 and 71·15 metres, one lens being plano-convex to a high degree of accuracy. A claim by previous investigators that one lens was a ‘light flint’ glass has been disproved. (shrink)
It is well known that the emperor Julian plays a central role in the life and writings of the Antiochene sophist Libanius. As a commentator on the life and reign of the emperor Constantine, he is seldom taken into account, and if he is, he usually gets short shrift as being verbose and unreliable. This neglect is, I believe, hardly justified. Even if it were true that Libanius could not teach us anything about the historical Constantine, his testimony (...) still deserves attention as an example of the attitude of eastern pagans to Constantine. Moreover, although much of what Libanius has to say about Constantine was written down half a century after the events, Libanius himself, born in 314, was a contemporary of the latter part of Constantine's reign. Unlike Julian, born in 331/2,2 and Eunapius, born in 347/8,3 he was able to form a judgement on Constantine based on first-hand knowledge. (shrink)
Eusebius' Life of Constantine is the most important single record of Constantine, the emperor who turned the Roman Empire from prosecuting the Church to supporting it, with huge and lasting consequences for Europe and Christianity. The only English version previously available is based on a seventeenth-century Greek edition, but two new critical editions produced this century make a new English version necessary. The authors of this edition present the results of the recent scholarly debate, as well as their (...) own researches so as to clarify the significance of Eusebius' work and introduce the student to the text and its interpretation, thus opening up the contentious issues. At face value much of what Eusebius wrote is false. This book shows how, once his partisan interpretations and rhetoric are properly understood, both Eusebius' text and the documents it contains give vital historical insights. (shrink)
The study deals with ekphraseis on works of art and poses the question as to how far these texts can be a reliable source for the study or even the reconstruction of the artefacts they describe. Based on reception theory and readerresponse criticism, in the paper is proposed that as every text, byzantine ekphraseis on artworks presuppose an audience or readership, i. e. the one the author had in mind and on the basis of which he encoded his message. In (...) order to decode this message and by extension to extract any information about the described works of art we must aim to discover their “intended reader”, and identify his or her “horizon of expectations. This proposal is tested in the study of a well known piece of this kind, Manasses’s description of a mosaic floor with a depiction of Earth. The author’s dialogue with the earlier tradition of ekphraseis, his readership’s “horizon of expectations” combined with historical facts, allow us to suppose that Manasses is describing a composition with Xenia scenes and an asarotos motif created in the early byzantine period and preserved in the Great Palace of Constantinople up to the twelfth century. (shrink)