Die Demonstratio evangelica des Eusebios von Kaisareia hat zu allen Zeiten weit weniger Interesse und Leser gefunden als ihr Gegenstück, die Praeparatio evangelica. Dementsprechend spärlich ist auch die handschriftliche Überlieferung des Textes in byzantinischer Zeit. Die zweite Hälfte des Werkes , die Photios wohl noch kannte, ging bis auf einige Fragmente des XV. Buches verloren, die erste Hälfte ist in vergleichsweise wenigen Handschriften überliefert, von denen nur drei vor dem 15. Jh. entstanden sind. Nach Heikel, von dem die heute noch (...) maßgebende Edition stammt, gehen alle erhaltenen Textzeugen auf den Codex Parisinus gr. 469 aus dem 12. Jh. zurück. Dieser Sachverhalt läßt sich schon daraus erschließen, daß alle weiteren Handschriften – mit zwei zu besprechenden Ausnahmen – zu Beginn , in Buch V und am Ende Lücken aufweisen, die durch Blattverluste im Parisinus bedingt sind. Vor allem die umfangreiche Lücke von 8 Folien zu Beginn des Parisinus hatte eine erhebliche Verstümmelung des Werkes zur Folge, die in den frühen Drucken nicht beseitigt werden konnte. Erst Johann Albert Fabricius druckte in seinem 1725 in Hamburg erschienenen Delectus argumentorum et syllabus scriptorum veritatis religionis Christianae den fehlenden Text des Anfangs und Endes aus einem Codex der Bibliothek des Fürsten der Walachei, Nikolaos Mavrokordatos, ab. Den fehlenden Abschnitt von Buch V ergänzte dann Heikel selbst aus dem Codex Bononiensis 3644 , der nach ihm ebenso wie der ‚Codex Maurocordati‘ des Fabricius eine Abschrift aus dem noch nicht verstümmelten Parisinus ist. (shrink)

This translation of four of Plato's dialogues brings these classic texts alive for modern readers. Allen introduces and comments on the dialogues in an accessible way, inviting the reader to re-examine the issues Plato continually raises.

Those who comment on modern scientific institutions are often quick to praise institutional structures that leave scientists to their own devices. These comments reveal an underlying presumption that scientists do best when left alone—when they operate in what we call the ‘scientific state of nature’. Through computer simulation, we challenge this presumption by illustrating an inefficiency that arises in the scientific state of nature. This inefficiency suggests that one cannot simply presume that science is most efficient when institutional control is (...) absent. In some situations, actively encouraging unpopular, risky science would improve scientific outcomes. 1 Introduction2 Scientists and Bandits3 Choosing an ϵ4 Structure of Communication5 Discussion. (shrink)

Perhaps even more radically than under the criticism of the ‘Maîtres du soupçon’, a whole world goes down in Greek comedy. Not only traditional religion, but also ethical life and finally even reason itself seem to be affected by the all-destroying power of laughter.The title of Aristophanes’ famous play ‘The Clouds’ has a symbolic meaning: in the comedy, Greek ethical life dissolves into a vanishing mist. Behind the player’s mask hides the principle of this total decomposition: the autonomous, selfconfident individual. (...) This event does not only have a theatrical meaning. It does not only exist in the artist’s imagination. It concerns a whole nation, a whole culture. The comedy is an expression of the way society understands itself. It represents in an aesthetic way the fact that the individual human being sees himself as ‘principium essendi et cognoscendi’ of everything. The comedy voices a new truth, namely that all truth begins and ends with man. The gods — symbols of truth and actuality- have dissolved in the shamelessness of a laughter, which does not halt for anything anymore. Formulated in modern terms: the comedy voices the philosophical principle that from now on the subject will be the reference point of all reality. Long before Descartes’s Cogito, a metaphysics of subjectivity here finds one of its remarkable expressions.At least, that is how Hegel interprets the comedy in his Phenomenology of Spirit. According to him, the destruction of the Greek world announces itself in the comedy. It signals the experience that a certain culture has grown old, that something new is coming. This new actuality will get its first, symbolic expression in the Christian religion. However, this transition is only possible if consciousness undergoes new experiences, by which the self-sufficient and frivolous cheerfulness of the comedy gets lost. In these new experiences the implications of the principle of the autonomous subjectivity, which is decisive for the comedy, come to light. Hegel defines this principle as following: “das Selbst ist das absolute Wesen; das Wesen, das Substanz und an dem das Selbst die Akzidentalität war, ist zum Prädikate herunter gesunken ...”.These new experiences are indicated by a term which is already familiar to the readers of the Phenomenology, namely ‘the unhappy consciousness’. Hegel writes: “We see that this Unhappy Consciousness constitutes the counterpart and the completion of the comic consciousness that is perfectly happy within itself”. The text is clear: the unhappy consciousness is not only that into which the comic consciousness turns. It is at the same time a change in which this consciousness accomplishes itself.The “Self which is for itself the absolute being” could not durably maintain itself in its position. Its “Leichtsinn” makes it “light”, too light to be the substance of everything. Very quickly, it loses its uncomplicated enjoyment of itself and becomes unhappy, even more: it has to become unhappy. I will return to the reason for this “having to” later on. But first, how does Hegel typify this historical experience, which is connected with the origin of Christianity? What does the bitter fruit of Greek comedy consist of? (shrink)

Suggests that a full acceptance of the finitude of existence can lead to the affirmation of God.