The term "hypnozoite" is derived from the Greek words hypnos (sleep) and zoon (animal). Hypnozoites are dormant forms in the life cycles of certain parasitic protozoa that belong to the Phylum Apicomplexa (Sporozoa) and are best known for their probable association with latency and relapse in human malarial infections caused by Plasmodium ovale and P. vivax. Consequently, the hypnozoite is of great biological and medical significance. This, in turn, makes the origin of the name "hypnozoite" a subject of interest. Some (...) "missing" history that is now placed on record (including a letter written by P. C. C. Garnham, FRS) shows that Miles B. Markus coined the term "hypnozoite". While a PhD student at Imperial College London, he carried out research that led to the identification of an apparently dormant form of Cystoisospora (synonym: Isospora). In 1976, he speculated: "If sporozoites of Isospora can behave in this fashion, then those of related Sporozoa, like malaria parasites, may have the ability to survive in the tissues in a similar way." He adopted the term "hypnozoite" for malaria in 1978 when he wrote in a little-known journal that this name would "... describe any dormant sporozoites or dormant, sporozoite-like stages in the life cycles of Plasmodium or other Haemosporina." At that time, the existence of a hypnozoite form in the life cycle of Plasmodium was still a hypothetical notion. In 1980, however, Wojciech A. Krotoski published (together with several co-workers) details concerning his actual discovery of malarial hypnozoites, an event of considerable importance. (shrink)
Introduction, by R. A. Markus.--St. Augustine and Christian Platonism, by A. H. Armstrong.--Action and contemplation, by F. R. J. O'Connell.--St. Augustine on signs, by R. A. Markus.--The theory of signs in St. Augustine's De doctrina Christiana, by B. D. Jackson.--Si fallor, sum, by G. B. Matthews.--Augustine on speaking from memory, by G. B. Matthews.--The inner man, by G. B. Matthews.--On Augustine's concept of a person, by A. C. Lloyd.--Augustine on foreknowledge and free will, by W. L. Rowe.--Augustine on (...) free will and predestination, by J. M. Rist.--Time and contingency in St. Augustine, by R. Jordan.--Empiricism and Augustine's problems about time, by H. M. Lacey.--Political society, by P. R. L. Brown.--The development of Augustine's ideas on society before the Donatist controversy, by F. E. Cranz.--De Civitate Dei, XV, 2, and Augustine's idea of the Christian society, by F. E. Cranz.--Chronological table.--Note on further reading (p. -423). (shrink)
The two main domains of high culture - the arts and the sciences - seem to be completely different, simply unrelated. Is there any sense then in talking about culture in the singular as a unity? A positive answer to this question presupposes that there is a single conceptual scheme, in terms of which it is possible to articulate both the underlying similarities and the basic differences between these domains. This article argues that - at least in respect of ‘classical’ (...) modernity - there is such a framework: the normatively conceived Author-Work-Recipient relation. It allows the disclosure of the paradoxical unity of culture: its two main realms are constituted as polar opposites and thus as strictly complementary. Through such an organization, culture could fulfil an affirmative, compensatory role. At the same time however, it also allowed culture to acquire the character of social critique, a function realized through the antagonistically opposed projects of Enlightenment and Romanticism - projects whose illusions are now evident. (shrink)
The dynamic differentiation of various social spheres in modernity has not been matched by any similarly dynamic development of new forms of trust which would help to maintain the connection between the impersonal/ systemic forms and the personal ones. Instead, we face today an increasing gap between the forms of trust related to the proliferating ‘abstract systems’ and the personal forms of trust. It is, above all, in this context that the topic of friendship became reintroduced into theoretical debates in (...) search for a model of human relationships which might bridge this gap. It is argued that such transformation of friendship into a ‘radical utopia’ is only the latest phase in the long series of historical transformations it has undergone in the context of changing social articulation of the relation between privacy and publicness. (shrink)
The problematics of alienation have played a rather significant role in the discussions\nabout the sense and relevance of Marxism which have taken place in\nthe last twenty years. &dquo;Back to Marx&dquo; was at least one of the main slogans of\nthat ideological/intellectual movement, which evolved both in the East and\nWest from the mid-fifties and which is sometimes referred to as the trend of\n&dquo;humanist&dquo; Marxism. The idea of a &dquo;Marx-Renaissance&dquo; was undoubtedly\ndirected first of all against the completely petrified framework of institutionalized\nMarxism, turned into (...) a &dquo;religion of state&dquo; legitimating the domination\nof a bureaucratic apparatus over the population of East European societies.\nThe &dquo;rediscovery&dquo; and &dquo;rehabilitation&dquo; of the young Marx, the emphasis on\nthe continuity of his thought, meant not only a reintroduction of a number\nof categories, problems and ideas, which were thought fruitful in their critical\ninsight into contemporary conditions and which the impoverished and distorted\nversion of Marxism in official communist ideology (deliberately) failed\nto take into account: it also meant a global challenge to the appropriation of\nthe Marxian tradition by an apologetic ideology, which disguised its positivistic\ncontent through the form of an old-fashioned, dogmatic metaphysics; it\nwas an attempt to recover the critical/emancipatory meaning of this tradition\nwithin the realities of the twentieth century. It was in this context that the\nnotion of &dquo;alienation&dquo; again reappeared -- as a concept through which one\ncould articulate an attitude which was critical simultaneously of Western\ncapitalist and so-called &dquo;socialist&dquo; Eastern societies. Within the framework of\nEast European realities even the rather abstract character of this notion found\nin young Marx, was well suited to the theoretical vagueness and the practical\nlimitations of this new-found leftist criticism of home-societies. (shrink)
The book addresses the constitution of the high culture of modernity as an uneasy unity of the sciences, including philosophy, and the arts. Their internal dynamism and strain is established through, on the one hand, the relationship of the author - work - recipient, and, on the other, the respective roles of experts and the market.
Is the assessment of a view of life only a matter of personal preference? I argue that there is more than personal preference. I defend the position that a view of life must be useful for the ascription of meaning and therefore needs to fulfil the requirements of the process of ascribing meaning. In this article I analyse this process and its requirements and deduce from them a set of criteria by which views of life can be assessed.
Hegel's Philosophy of Right represents a unique theory type in the history of political philosophy. It is a normative theory that departs in its construction from an empirical facticity without reducing norms to facts. It unifies teleological and deontic considerations. It is a theory of the normatively requisite institutional structures able to realize the demands of a historically particular form of individuality, and simultaneously it presents the phenomenology of modern subjectivity committed to the ultimate value of true freedom. In this (...) way it aims to transform into genuine self-knowledge the illusory social-political self-image of its addressees. The paper discusses the connection between this phenomenological method and Hegel's conception of freedom - his critique of unconditional, abstract normativity, his solution to the problem of collision between equally valid norms and the possible relevance of his methodological principles to contemporary political philosophy. (shrink)
Adorno's first musical monograph, his book on Wagner, represents his most consistent effort to apply commodity analysis to one of the seminal oeuvres of cultural modernity. The notion of commodity character and the associated concept of phantasmagoria are to fulfil the function of mediation between the more narrowly conceived technical analysis of Wagner's music and the disclosure of its aesthetic-social substance, providing the ultimate social ground for their unity. This project, however, fails. Commodity analysis proves to be radically vague, incapable (...) of disclosing the historical specificity of the music dramas either in respect of the tradition of Vienna classicism, or the ensuing development of aesthetic modernism. At the same time its application is burdened by contradictions. Ultimately, Adorno's critical interpretation relapses into a form of ideology critique the simplifications of which he originally attempted to overcome. (shrink)
The author argues in this article that it is possible to have a consistent and coherent version of the doctrine of divine timelessness. Towards the objection that a timeless God cannot act it is defended that a timeless God can certainly act in the world and can love human people. In spite of the consistency and coherence of the doctrine of divine timelessness, however, the author has serious problems with the fruitfulness of this doctrine when it comes to essential practices (...) of the Christian faith, such like seeking help from God, loving God, and prayer. (shrink)
One of the many themes to which Agnes Heller's philosophy returns again and again is the theme of the home of the moderns. Although not necessarily her central philosophical theme, nonetheless, it opens onto the existential and multi-dimensional nature of the human condition in modernity, which her work permanently addresses.
Condorcet's arguments concerning the dependence of unhindered scientific development on the presence of democratic conditions still sounds relevant today, because they are based on specific and complex considerations concerning the character of the social enterprise of science that articulates problems that still continue. The implicit dispute between Condorcet and Rousseau is also the first great historical example of the conflict between the Enlightenment and Romanticism, which accompanies the history of modernity, as an unresolved and indeed irresolvable opposition that belongs to (...) the prehistory of our own confusions and quandaries concerning the relations between culture, science, politics and society. (shrink)
The detrimental effect of the public recital on the quality of epic production in the first century is a stock theme both in ancient and in modern literary criticism. While previous studies on the epic recital emphasize its negative effects, or aim at its reconstruction as social reality, I focus on its conflicting representations by the ancients themselves and the lessons that we can learn from them. The voices of critics and defenders reveal anxieties about who controls the prestigious high (...) genre of epic and about the construction of gender and social status through epic's public performance. Critics of the recitatio such as Horace, Persius, Petronius and Juvenal represent it as an informal and popular event that panders to public taste and incurs infamy. These critics charge that the epic recital has an effeminizing effect both on the recitator and on his audience, a charge traditionally advanced against orators and actors. Because the epic recital in Rome lacks a performative context similar to the rhapsodic performances in Greece, its public image mirrors that of other public performances . The main point of divergence is the presence of the book, the symbol of permanent fame, which casts upon the recital the shadow of an evanescent entertainment. Defenders see the recital as instrumental to the maintenance of literature's value in society. This means that well into the first century there were those who felt nostalgia for the epic recital as a bulwark of male aristocratic values and who wanted to reclaim its prestige. Both Statius as a poet, who performed regularly at Domitian's court, and Suetonius, who acted as Hadrian's ab epistulis some twenty years after Statius' death, defend the waning reputation of the contemporary epic recital in an effort to reclaim it as a prestigious component of imperial literary culture. While critics unanimously negate the recital's role in the achievement of poetic fame in favor of the book, Suetonius chooses anecdotal evidence about the early performances by grammarians grammarians that show the important role of the recital in forging poetic fame. The emperor and the members of the new aristocracy whom Statius explicitly names as the target audience of his epic recitals have a stake in reclaiming for imperial culture an institution that went back to the second century B.C.E. and carried the prestige of an aristocratic event. (shrink)