Hobbes in Leviathan, chapter xv, 4, makes the startling claim: “The fool hath said in his heart, ‘there is no such thing as justice,’” paraphrasing Psalm 52:1: “The fool hath said in his heart there is no God.” These are charges of which Hobbes himself could stand accused. His parable of the fool is about the exchange of obedience for protection, the backslider, regime change, and the tyrant; but given that Hobbes was himself likely an oath-breaker, it (...) is also self-reflexive and self-justificatory. For, Hobbes’s fool is not a windbag, or one of the dumb mob, led astray by priests. He is, in the terminology of Psalm 52, an insipiens, a madman or raving lunatic, whose rebellion against God the King is his own destruction and that of his people. A long iconographic tradition portraying the fool as insipiens, Antichrist, heretical impostor and tyrant king, was at Hobbes’s disposal. (shrink)

Quatro painéis de muito boa pintura, representando aspectos da vida e martírios dos Santos Mártires de Lisboa, Veríssimo, Máxima e Júlia, estão patentes no Museu Carlos Machado, em Ponta Delgada, nos Açores.Obras nunca estudadas antes de 2001, embora referenciadas documentalmente já no século XIX, permaneceram em colecções particulares até aos anos sessenta do século XX, quando foram doadas ao museu açoriano, onde se encontram em bom estado de conservação. Nunca dali saíram, a não ser um dos painéis para a XVII (...) Exposição Europeia de Arte, Cultura e Ciência (núcleo da Casa dos Bicos) e outro painel, em 1992, para uma exposição em Génova. As obras, de relativamente pequenas dimensões, são muito ricas em aspectos iconográficos e de caracterização de ambientes. Datáveis da década de 30 do século XVI, têm sido atribuídas ao pintor Garcia Fernandes e, mais recentemente, a Cristóvão de Utreque, um dos mestres que foi referenciado como eventual colaborador dos chamados Mestres de Ferreirim: Cristóvão de Figueiredo, Gregório Lopes e Garcia Fernandes.Muito interessante, no entanto, é a iconografia das paisagens urbanas de duas das pinturas, mas a vida e os martírios dos santos não acompanham o que se conhecia da literatura do tempo. (shrink)

Graças ao singular prestígio de que gozava o Portugal quatrocentista na Europa de então, era lógico que as filhas e parentes próximas dos nossos reis fossem pretendidas como esposas de infantes e de príncipes estrangeiros; não seria excepção D. Joana, filha de D. Afonso V e irmã de D. João II. Os seus traços fisionómicos estão patentes na pintura guardada no Museu Nacional de Aveiro, que talvez se possa datar de 1471, ou pouco antes; de um autor anónimo, obedeceu aos (...) princípios da escola do pintor Nuno Gonçalves. Nos séculos XVI e XVII, surgiram diversas figurações pictóricas que representam a princesa vestida com o hábito dominicano.Como seria de prever, logo após a beatificação (1693), em Aveiro surgiu a lembrança de que fosse esculpida em madeira uma imagem de Santa Joana para o culto litúrgico. Posteriormente, ao lado de muitas publicações biográficas, multiplicaram-se as representações de Santa Joana, mesmo além-fronteiras. Refiro especialmente as duas que estão patentes em Roma na igreja de Santo António dos Portugueses.Para abreviar este esboço, detenho-me nos últimos decénios da centúria novecentista. Sobretudo a partir de 1938, deparamos com dezenas e dezenas de representações da Princesa Santa Joana, em diferentes materiais e processos, devidas sobretudo à concepção e à arte de aveirenses; até há barcos moliceiros a vogar na ria, que a ostentam garbosamente nas proas. Para finalizar, refiro uma das estátuas que se erguem no perímetro da cidade de Aveiro; trata-se daquela que se encontra no largo fronteiro à Sé e ao antigo Mosteiro de Jesus, inaugurada em 2002. O seu escultor, Helder Bandarra, exprimiu-a com determinação, perseverança e decisão para viver e anunciar Jesus Cristo. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and (...) made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

This paper responds to a previous paper by Gary Matthews and Lynne Rudder Baker. Their paper, in turn, was a response to my reply to an even earlier paper of theirs. (The relevant bibliographical details are in this paper.) They claim to have a new, improved, simple ontological argument. I argue that the new, simple ontological argument is not, in any way, improved.

Cette contribution analyse les déclinaisons du thème iconographique de la parabole des dix vierges dans des estampes produites entre les xvie et xviie siècles aux Pays-Bas. Issues d’un processus culturel complexe de production et réception, ces artefacts culturels constituent un exemple significatif de la mise en œuvre d’un discours moralisateur de nature confessionnelle au service de la transformation du système de valeurs d’une population urbaine caractérisée par des changements significatifs dans les structures économiques et sociales de la modernité, dans lesquelles (...) les hommes et les femmes ne cessent de négocier leurs relations et leurs rôles sociaux. L’opposition symbolique entre l’image positive des femmes qui travaillent et celle négative des femmes qui dansent qui émerge de l’analyse, permet d’éclairer la complexité de l’articulation entre les représentations sociales de la danse et du genre que cette opposition implique et produit. (shrink)

Bakhtin famously argued that language-as-used is essentially dialogic. One pragmatic implication concerns how dialogicity is established in various contexts. In political discourse, polemic polyphony emerges from the juxtaposition of adversarial voices of political actors: a dialogue in which different voices index different ideological orientations. Polyphonic ensembles establish discoursal scenes and make them recognizable, enabling distinctions such as those between ‘us’ and ‘them’, and between heroes and villains. Overall, they assist speakers in the semiotic mediation of political relations.

The first English-language publication of a classic French book on the relationship between the development of photography and of the medical category of hysteria. In this classic of French cultural studies, Georges Didi-Huberman traces the intimate and reciprocal relationship between the disciplines of psychiatry and photography in the late nineteenth century. Focusing on the immense photographic output of the Salpetriere hospital, the notorious Parisian asylum for insane and incurable women, Didi-Huberman shows the crucial role played by photography in the invention (...) of the category of hysteria. Under the direction of the medical teacher and clinician Jean-Martin Charcot, the inmates of Salpetriere identified as hysterics were methodically photographed, providing skeptical colleagues with visual proof of hysteria's specific form. These images, many of which appear in this book, provided the materials for the multivolume album Iconographie photographique de la Salpetriere. As Didi-Huberman shows, these photographs were far from simply objective documentation. The subjects were required to portray their hysterical "type"—they performed their own hysteria. Bribed by the special status they enjoyed in the purgatory of experimentation and threatened with transfer back to the inferno of the incurables, the women patiently posed for the photographs and submitted to presentations of hysterical attacks before the crowds that gathered for Charcot's "Tuesday Lectures." Charcot did not stop at voyeuristic observation. Through techniques such as hypnosis, electroshock therapy, and genital manipulation, he instigated the hysterical symptoms in his patients, eventually giving rise to hatred and resistance on their part. Didi-Huberman follows this path from complicity to antipathy in one of Charcot's favorite "cases," that of Augustine, whose image crops up again and again in the Iconographie. Augustine's virtuosic performance of hysteria ultimately became one of self-sacrifice, seen in pictures of ecstasy, crucifixion, and silent cries. (shrink)

This article explores the development of the theme of the Life-giving Spring in Byzantine iconography. The path towards its establishment was initiated at the moment when a representation rule, an original convention was set. Thereafter, because of its diffusion in time and space, the theme became enriched by particular mentalities and sensibilities of the epochs and the communities that adopted it as a form of devotion for the Virgin Theotokos. As a result, the representations we have known so far (...) are extremely varied. CONTRIBUTION: The final purpose of this approach, as well as its contribution, is to highlight the diverse unity of the iconographic tradition and illustrate both the evolution of the theme in the painting of Romanian church artists and its gradual refinement through the incorporation of diverse nuances and new perspectives. (shrink)

In the _Proslogion_, St. Anselm presents a philosophical argument for the existence of God. Anselm's proof, known since the time of Kant as the ontological argument for the existence of God, has played an important role in the history of philosophy and has been incorporated in various forms into the systems of Descartes, Leibniz, Hegel, and others. Included in this edition of the_ Proslogion _are Gaunilo's "A Reply on Behalf of the Fool" and St. Anselm's "The Author's Reply to (...) Gaunilo." All three works are in the original Latin with English translation on facing pages. Professor Charlesworth's introduction provides a helpful discussion of the context of the _Proslogion_ in the theological tradition and in Anselm's own thought and writing. (shrink)

Politics and Modernity provides a critical review of the key interface of contemporary political theory and social theory about the questions of modernity and postmodernity. Review essays offer a broad-ranging assessment of the issues at stake in current debates. Among the works reviewed are those of William Connolly, Anthony Giddens, J[um]urgen Habermas, Alasdair MacIntyre, Richard Rorty, Charles Taylor and Roy Bhaskar. As well as reviewing the contemporary literature, the contributors assess the historical roots of current problems in the works of (...) Nietzsche and Max Weber. (shrink)

The aim of the paper is a critical evaluation of Mikhail Bakhtin’s carnival laughter’s theory, and along the analysis of Walter Benjamin’s notion of laughter, and its relation to modernity. While Bakhtin concentrates his attention on a few medieval festivities, this paper focuses on the “feast of fools” (festa stultorum) as a metaphor for carnival laughter. For Bakhtin, clown, joker, etc. represents Medieval and Renaissance carnival spirit, while an animated Mickey Mouse, alongside with Charlie Chaplin’s movie character, appears in Benjamin’s (...) texts as a figure of modernity. Carnival laughter can be cruel, and it was cruel indeed, participated in violence during the festivities. The same cruelty Benjamin had found in a few fairy tales collected by the Brother Grimm. How cruelty and laughter are connected? The lack of common experiences in modernity was the reason why Bakhtin wanted to find a counterbalance to modern atomistic bourgeois society, and laughter could have given it. According to Bakhtin, the spirit of carnival as a collective laughter gradually dried up and in the 16th century it has self-transformed into a novel and became a genre of grotesque realism. For Benjamin, only epic, architecture and cinematograph are able to create the collective experience. (shrink)

In the Proslogion, St. Anselm presents a philosophical argument for the existence of God. Anselm's proof, known since the time of Kant as the ontological argument for the existence of God, has played an important role in the history of philosophy and has been incorporated in various forms into the systems of Descartes, Leibniz, Hegel, and others. Included in this edition of the Proslogion are Gaunilo's "A Reply on Behalf of the Fool" and St. Anselm's "The Author's Reply to (...) Gaunilo." All three works are in the original Latin with English translation on facing pages. Professor Charlesworth's introduction provides a helpful discussion of the context of the Proslogion in the theological tradition and in Anselm's own thought and writing. (shrink)

Ernest Gellner's final book, first published in 1998, is a synoptic interpretation of the thought of Wittgenstein and Malinowski.

"Of Children, Fools, and Madmen: Spinoza's Scientific Method and the Constraints of Fact" Spinoza has been largely ignored in the history of the scientific method in the seventeenth century. Such neglect is unjustified insofar as Spinoza deliberately circumscribed with scientific method both Biblical hermeneutics (TTP), a field which he deserves credit for founding, and political theory (TP). Although he wrote no discrete discourse on method, he wove his scientific methodological principles into the fabric of his philosophical treatises.

Through the prism of iconography, we may be able to better understand Vecchietta's stylistic choices towards the end of his career. His last known bronze sculpture, a gaunt and pathetic Christ, executed in 1476, is widely agreed to represent the Risen Christ. Today, the sculpture stands atop the high altar of the Santissima Annunziata, the Hospital Church in Siena, but this was neither its original nor intended location. In fact, the figure was meant to be part of a larger (...) ensemble which, together, constituted Vecchietta's funerary chapel. This article demonstrates unequivocally that the present setting of the statue has fostered an iconographical misunderstanding: naturally, the subject of the statue is Christ; but he represents the Man of Sorrows, not the Risen Christ. An exploration of the significance of the iconography of the Man of Sorrows in mid-fifteenth-century Siena, and its possible antecedents, reveals connections especially with Northern European artefacts circulating in central Italy at the time. The result of these findings is to set Vecchietta's sculpture free from previous preconceptions, shedding new light on a famous artwork and triggering new questions about the artist who made it. (shrink)

The Alumni Office at Bradford University has been operating a PC based Alumni System using Dbase III Plus. This system is now breaking down due to the workload being placed upon it and a new system is required. The production of a new system has been undertaken by Martin Charlesworth, Timothy Hodgson and Ioanis Trikukis as an M.Sc. project. This report relates to that project. A system has been produced as a joint effort whereby each team member has produced elements (...) of the whole system. The result has been a system, which while not fuIIy complete, is in a state which can be used by the Alumni Office. The production of the system involved an analysis of the current system, the design of a new system and the implementation of the design. These stages are detailed in this report. The project has met its aims and its organisation has proved to be an effective method of working. (shrink)

The role of the Holy Spirit was considerable during the Romanesque period, and its importance remained unknown for a long time. Illuminations could contribute to restoring an appropriate understanding of church settings. The perspective of a powerful and hidden Spirit reveals a new perspective on the tympanums of some famous Romanesque churches. Résumé— Le rôle de l'Esprit Saint était considérable à l'époque romane, et son importance est restée longtemps inconnue. L'analyse de certaines enluminures contemporaines pourrait être précieuse, même pour interpréter (...) certains décors d’église. La mise en perspective de la croyance médiévale en des esprits nombreux donne un nouveau regard sur les tympans de quelques églises romanes célèbres. (shrink)

Refrigeration has become so well established over the last 125 years that today a crude ice maker becomes a boon for primitive people in the jungle or desert. Only a total dislocation in energy sources will quickly loosen the connections between people and cooling. A few centuries ago, Hippocrates observed: ‘most men would rather run the hazards of their lives or health than be deprived of the pleasure of drinking out of ice’ … In the U.S.A. [today], 750 million frozen (...) Eskimo Pies are sold annually and seven ice cream plants are said to be operating in Moscow … Like the men of Hippocrates, a lot of people will resist any curtailment in food and freezing operations. They have come to expect these for survival in our present social and industrial orders.These remarks, asserting the extent to which the people of the United States of America regarded refrigeration not as an optional luxury but as a necessity for survival even at the height of the energy crisis of the late 1970s, formed part of a contribution to a massive 11-volume international compendium, Alternative Energy Sources, produced in 1978 in response to Western concerns about rising oil prices and falling reserves. An enthusiastic advocate for geothermal energy, the contributor's perception provides a vivid contextual starting point for our study of Paul Theroux's novel The Mosquito Coast . In this novel the central narrative focuses upon a New England family's rejection of post-war American consumer society with its imperative to ‘build automobiles that would fail within five years and refrigerators that would fail in ten’. The novel indeed explores some of those very kinds of alternative energy sources which had been exciting scientists and inventors since the early 1970s when journals such as The Ecologist had begun to prophesy an end to energy-driven economic growth in the western world. (shrink)

My note on McShane's “Implementation” article indicates what I have learned from it (a) about its author, (b) about Lonergan, and (c) about implementation of Lonergan’s transcendental method. My sheaf of quotations from the article may offer a focus – not distorting, I hope – different from the reader’s own.