This article examines how the seventeenth-century antiquary, Elias Ashmole (1617-1692) used antiquarian techniques to demonstrate the historical veracity of alchemy. Ashmole published three alchemical volumes and collected thousands of pages of alchemical manuscripts. He also wrote several antiquarian treatises and collected manuscripts and printed volumes on astrology, political and ecclesiastical history, heraldry, medicine, devotional treatises. Ashmole's virtuoso perspective allowed him to view knowledge as unified, even traditions that appear to be as discrete as alchemy and antiquarianism. By examining how these (...) two traditions were related to one another, we also see how knowledge was conveyed from one generation to the next. (shrink)

This contribution to the Common Knowledge symposium “Fuzzy Studies” considers how the ultramodernist aesthetics of Central Europe has related to and reacted against the region's political history and cartography. Central Europe has been a rich source of “soluble” realities that can be observed as they emerge, mature, and rapidly decay. Central European modernism, represented here by Adolf Loos in architecture and by Arnold Schoenberg and Leoš Janáček in music, experimented with blurry regions between presence and absence, light and shadow, sound (...) and silence. Loos disrupted the logic of architecture, while Schoenberg and Janáček nearly dissolved the acoustic paradigm of sound. This essay argues that the curious positioning of Central Europe, with its frequently changing borders and national entities, conduced both to positive experiments in cultural vagueness and to a corrosive reaction against existing and potential identities, parameters, distinctions, foci, and logics. (shrink)

In this article we focus upon the embodiment of vulnerability as an area in which medicine, society and the humanities can be profitably conjoined. We illustrate our argument with two interrelated case studies of narratives of the embodiment of ageing and longevity. First, we draw upon Leoš Janáček’s opera The Makropulos Case (1926) as a locus for debates about human longevity. Second, we discuss 70-year-old Janáček’s decade of unrequited love for a woman 37 years younger than himself, through an examination (...) of their intimate letters. We suggest that both the opera and elements of Janáček’s biography illuminate the passionate emotions that are often hidden behind ‘the mask of ageing’. Finally, we propose that a focus on the embodiment of vulnerability is a productive catalyst for research on narratives of ageing. (shrink)

This article defends a persona theory of musical expressivity. After briefly summarising the major arguments for this view, it applies persona theory to the issue of whether music can express complex emotions. The expression of jealousy is then discussed by analysis of two examples from Piazzolla and Janacek.

Bernard Williams, who died in 2003, was one of the most influential moral philosophers of his generation. A lifelong opera lover, his articles and essays, talks for the BBC, contributions to the Grove Dictionary of Opera, and program notes for the Royal Opera House, Covent Garden, and the English National Opera, generated a devoted following. This elegant volume brings together these widely scattered and largely unobtainable pieces, including two that have not been previously published. It covers an engaging range of (...) topics from Mozart to Wagner, including sparkling essays on specific operas by those composers as well as Verdi, Puccini, Strauss, Debussy, Janacek, and Tippett. Reflecting Williams's brilliance, passion, and clarity of mind, these essays engage with, and illustrate, the enduring appeal of opera as an art form. (shrink)

Does remorse imply self-hatred? In this paper, I argue that self-hatred is a false response to one’s wrongdoing because it is corrupted by the vice of pride, which affects the perception of its object. To identify the detrimental operation of pride, I propose to study the process of change of heart and its impediments. I use the example of Kostelnička, from Janáček’s opera Jenůfa, to show that the impediment to remorse is active already as a source of wrongdoing and self-deception. (...) I identify three different aspects of Kostelnička’s pride: social ambition, defensive anger, and moral ambition. I show that it is pride as moral ambition that prevents the wrongdoer’s acknowledgment of her blameworthiness by causing her obsession with her blameless self-image and corrupting her self-love. In the last part of the paper, I reject Kostelnička’s initial self-hatred before her change of heart, because it is not based on an accurate judgement of her agency. Kostelnička’s true remorse is thereupon connected with her inner transformation towards humility and with a reorientation of her attention towards the victim of her wrongdoing, as testified in her plea for forgiveness. The implied moral improvement and reconstitution of her relationship to herself and others opens the way for her coming to terms with her guilt. (shrink)

The article employs music to describe the dynamics of Central European identity at the turn of the 20th century. Conceptually, the analysis is based on the notion of cultural resonance and the distinction between political territories, which isolate identity, and cultural landscapes which let it escape. This theoretical understanding is derived from the acoustic philosophy and musical practice of two Central European composers, Leoš Janáček and Béla Bartók. Exemplified here is artistic ‘extra-territorial’ identity, which is indeed how Theodor Adorno at (...) one point referred to the ‘peripheral’ sound coming from the region. This process of identity construction amplifies paradoxical middle spaces, which Jean Luc Nancy describes evocatively as a cultural mêlée. The vitality of cultural resonance is fuelled by this primary contact with mundane reality and the ‘navigational hesitation’ underpinning identity and its many trajectories. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Against the Ethicists (Adversus Mathematicos XI) by Sextus EmpiricusJohn Christian LaursenSextus Empiricus. Against the Ethicists (Adversus Mathematicos XI). Translation, Commentary, and Introduction by Richard Bett. Oxford: Clarendon Press, 1997. Pp. xxxiv + 302. NP.Sesto Empirico. Contro gli etici. Introduction, Editing, Translation, and Commentary by Emidio Spinelli. Naples: Bibliopolis, 1995. Pp. 450. NP.Joining the rising tide of scholarly literature that says that skeptics can indeed live their skepticism, and (...) that it is not necessarily a bad life, are these two fine translations of Book XI of Sextus Empiricus’s Against the Mathematicians (known as MXI), the most important for ethics and politics. Considering that the length of Sextus’s text is only 39 pages (in the English version), the length of these two volumes alone indicates that a great deal of philosophical and philological scholarship will be found in them. Both authors do an excellent job of tracking down Sextus’s sources and his targets.Spinelli accepts the traditional position (Janacek’s) that MXI was written after Sextus’s Outlines of Pyrrhonism, although he is aware of the minority position that it was the other way around. Bett makes a convincing case for the minority position, including a substantial appendix comparing passages from the two works which suggest that Outlines polishes MXI. This has the merit of explaining Sextus’s apparent “negative dogmatism” in MXI as part of early skepticism and a phase on the way to the more refined and more thoroughly undogmatic skepticism of the Outlines. However, Bett himself mentions counterevidence to his thesis, so it cannot be considered decisively established. Spinelli explains the apparent dogmatism on the assumption that Outlines came first: the usual skeptical reservations set forth in that book should be understood as implied (165–66, 169). Other explanations are that apparent affirmations are ad hominem polemic “inside” Stoic theory (240ff.) or merely relative and with no ontological status (291).Bett divides the text into part A (1–167) and part B (168–end), arguing for compilation of the two parts of the book from different sources with different purposes. Spinelli writes that the often-denigrated 168–end “has a precise function in the internal compositional strategy” of the book (339).English speakers have had to rely too long on the Loeb translation by” B. Bury. Bett questions many of his renderings. For example, Bury translated kakon and kakia as “evil,” with connotations of intentionality, and at MXI 121 even supplied a footnote to Genesis! Bett prefers the less-loaded “bad” and “vice.” Spinelli usually translates kakon with “mali” but uses the loaded “malvagità” for kakia at MXI 121, where Bett would have suggested “vizio.” Bury translated alogon and alogois with “irrational” which Bett corrects to “non-rational” at MXI 143, 148, and 161 to capture the point that what is in question is neither rational nor irrational, but rather “sensory happenings” which have [End Page 313] nothing to do with reasoning (161). Spinelli renders alogon as “irrazionale” at MXI 143 and alogois as “sottrati al ragionamento” at MXI 148 and 161.Spinelli’s is a much more useful and substantial volume than the previous Italian translation. The only thing that might keep Bett’s volume from replacing the Loeb edition is that it does not supply the Greek text on facing pages. Spinelli does.The exhaustive and careful analyses of Spinelli and Bett allow them to disagree in important ways with parts of the substantial recent work on ancient skepticism by Hankinson, McPherran, Annas, Nussbaum, Striker, and Decleva Caizzi (cited as Caizzi by Bett), not to mention the older work of Janacek and the debates from the early 1980s (now dated) among Frede, Burnyeat, and Barnes. Although they do not find Sextus’s work to be flawless by any means, it is clear that we are long past the point at which his work could be dismissed as silly or merely derivative.On the test case of the treatment of Sextus’s example of the tyrant (MXI 166), both Spinelli and Bett point in the right direction. Spinelli sees that “the Pyrrhonist can live easily” (330) and that MXI 165–67 provides “a new key to understanding the ‘moral skepticism... (shrink)