In lieu of an abstract, here is a brief excerpt of the content:An Epiphany in Munich LINCOLN PERRY W hen I used to say the sentence (softly and to myself ) “I hate palms” or “Palms are not beautiful; possibly they are not even trees,” it was a composite palm that I had somehow succeeded in making without even ever having seen, close up, many particular instances. Conversely, when I now say, “Palms are beautiful,” or “I love palms,” it (...) is really individual palms that I have in mind. This quote from Elaine Scarry’s On Beauty and Being Just applies perfectly to an experience I recently had regarding a painting by an artist I had assumed I didn’t much care for. Perhaps it would be best to lead into my epiphany gradually, to recreate the preparation that might have been necessary to have my realization. Actually, I speak of a double epiphany, in that it was shared by the friend I was travelling with when we saw the artwork in question. He and I are both painters, and have much in common, both in terms of our own work and our voracious appetite for seeing museums, so when I planned a trip for late October 2018 to see thirty museums in two weeks in Germany and Austria, I knew just whom to call. David Carbone and I have known each other, and appreciated each other’s work, since leaving graduate school in 1975, meeting at the College Art Association held that year in Washington, DC, where people compete for jobs while trying to maintain a veneer of civility. David made less of an effort than most, and I vividly remember him in saddle shoes he had painted bright blue, wearing a tie featuring a burlesque dancer, sipping champagne in the garden courtyard of the National Gallery. All the nearby aspiring art historians were immaculately dressed and scrupulously behaved, but David finished his drink, and in imitation of a arion 27.1 spring/summer 2019 Russian toast, threw his empty glass against the wall, where it noisily shattered. I like this guy, thought I. Over the next few days, visiting DC’s museums together, I recognized the brilliance of his commentaries on the art we saw. And his wit: He told of studying with his painting professor, who became frustrated with David’s pace in painting and said “David, painting is really very simple!” The reply: “But, what if you’re not simple?” I can’t conjure a single artist about whose work we’ve disagreed in the course of the fortythree years we’ve known each other. Meeting often in New York, where he lives with his wife Donna (who, like my wife, is always perfectly willing to let us go museum schlepping without them), we’ve also travelled in central Italy, and even flew to Fort Worth to see a show of the Le Nain brothers. A very sweet guard there asked us, “Who ARE you?” and when we said we were painters, she said, “Oh, because I’ve never seen anybody look at paintings this long, or talk about them so much!” Berlin is a treasure trove, where we visited ten fine museums, then flew to Vienna, which was hosting an extensive exhibit of Bruegel’s paintings, though feast might be a more apt word. A visual feast, but one that didn’t leave one sated, jaded, or bloated, but rather improved, made less ambivalent about membership in a questionable species. Yes, the viewer consumed a meal of war, famine, foolishness, and pride, but the chef made it not just palatable but beautiful, thought-provoking and humorous. Bruegel and his contemporary Rabelais seem kindred spirits, skeptical but amused, bawdy but tender, creating not just works but micro to macro worlds, an alternate world view, in fact. Each painting mesmerized anyone looking long and carefully enough, discovering that a tiny girl on a sled is able to get a purchase on the ice not just with her diminutive sticks, but by the miniscule iron nails in which they end, painted with a one hair-brush. From this minutia we graduate to a wider and wider view, one that comes to imply infinity. Bruegel’s brilliant guidance doesn’t confront us... (shrink)

In the following, the American reader is to be familiarized with what is called the Munich School and, in particular, with my systematic philosophical work. The Munich School began to form at the start of the fifties. This School regards itself as philosophically transcendental, not in the sense that a new position is founded by it, but as the advocate and conveyor of the one transcendental philosophy. Transcendental philosophy, namely, was founded, according to the understanding (...) of this School, essentially through René Descartes, and for the first time was detailed and realized as a system by Johann Gottlieb Fichte. In this essay, therefore, I will trace the origin of transcendental philosophy and the development of it, and will try to show the place which my own work and that of the colleagues associated with me have in the presentation of transcendental philosophy. (shrink)

The general understanding of pictorial representation as constructed through the viewpoint of the artist outside the picture space is mediated through our present-day familiarity with geometric perspective and photography. This presumes the existence of an external viewpoint. This understanding of painting has become common sense. In this way a 'historical product' has been taken as an 'a-historical essence' of our understanding. Even now, many theories on painting seem to remain caught in such a essentialist thinking. In this paper (...) I discuss the problem of essentialist thinking, basing my views on the philosophy of Kiyoshi Miki, one of the important philosophers of the 'Kyoto School', and then reexamine the belief in the existence of viewpoints outside of painting. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 120-124 [Access article in PDF] Pictures & Tears. a History of People Who Have Cried in Front of Paintings, by James Elkins. London: Routledge, 2001, xiii + 272pp., $26. In "Tears, Idle Tears" from The Princess, Alfred, Lord Tennyson wonders at the tears forming in his eyes as he gazes out across the fields one fall day. The idyllic countryside, far from (...) providing solace, triggers within him a debilitating sadness, an all-encompassing melancholia, manifested by the tears originating from a deep despair; the autumn fields remind Tennyson's narrative persona of all the days that have passed by him.If Tennyson's eyes had fallen not on autumn fields but on a painting of them then the opening lines to "Tears, Idle Tears" might have served as the perfect epigraphic frame to James Elkins's important study of the tears we do and do not shed when looking at art.One of several recent books by the increasingly influential professor at Chicago's School of the Art Institute, Pictures & Tears probes that aspect of our consciousness that has the capacity [End Page 120] to move us to tears when looking at paintings.Shedding tears in front of paintings? Within contemporary culture it seems rather unlikely for someone to respond to a painting by fighting off, or giving in, to tears. Reactions to paintings in previous periods and societies were wholly different from ours, Elkins argues. Paintings not only incited the passions but were blamed for the onset of numerous, serious medical conditions. Though rare today, cases continue to be reported. The Italian psychiatrist Graziella Magherini even coined a term for it in 1989, "Stendhal syndrome," referring to the novelist whose viewing of art in Florence was accompanied by the onset of a form of nervous exhaustion.While the subtitle of Elkins's book suggests a history of crying in front of pictures, leading us to the nearly tearless present, and thus, presumably, to answers about why we no longer cry in front of paintings, A History of People Who Have Cried in Front of Paintings is somewhat misleading. In the truest sense Pictures & Tears is neither a history of crying in front of pictures nor individual histories of those who have. The book does not follow a linear historical narrative of the tears that pictures have evoked over the centuries. Rather, Elkins's chapters constitute a tableau, the accumulation of fragments, with alternating chapters exploring, first, a particular work of art and the tears it has evoked and, second, ruminations on why that might be the case.At the heart of Elkins's argument is a concern over why we no longer seem willing, or indeed able, to have emotional responses to paintings. Besides the occasional grand response to works of art, particularly those vested withsignificant religious meaning, few admit to intimate connections with paintings. Elkins wants to know why.To answer these questions, Elkins turned to colleagues as well as to people he had never met. His research for the book included letters to fellow scholars and peers, and open calls in newspapers and journals, requesting stories from anyone moved to tears on encountering a painting. He received more than four hundred responses, many of which are included in a substantial appendix. The responses themselves make for an intriguing read and from them Elkins builds a two-pronged argument: we now live in an age that is marked by "stoic intellectualism" (p. 163), yet we still have the capacity to feel an intimate connection to paintings. Art in recent years has demanded greater intellectual engagement, lessintimate involvement. There may be exhibitions that fuel fear, distrust, anger, or rage but these are alienating to the works themselves, although these feelings can certainly be as intense as the more intimate connection that Elkins equates with falling in love.What is it about viewing paintings, as opposed to film or theater, he asks, which prevents full emotional expression? Is it the accoutrements used to view gallery paintings — the exhibition catalogs... (shrink)

The aim of this paper is to present those realistic tendencies in Bulgarian painting from the 1920s and 1930s, that echoe contemporary West European ones, like the New Objectivity in Germany. Among others, it will be shown how Bulgarian artist’s paintings are inspired by the folklore primitive from the past and reflect the assiduity of cultural administration to renew the idea of a modern artistic school of art with a defined national character.

Analyzing Montaigne's triptych painting, “Of the Education of Children,” reveals a series of ever-morphing, Dorian Gray–like canvases that depict metaphor mutations through which Montaigne defined education by distinguishing between schooling a child into a learned man and educating him into an able, active, and gentle person. Montaigne used metaphor and metaphor clusters to image key points in his educational philosophy, advanced his argument by intertwining, transmuting, and inverting metaphors, and thereby drew and vividly painted his philosophy of how to (...) educate a person from cradle to coffin. Because the etymology and pronunciation of “essay” (from the French essai) support Montaigne's imaging and exploiting of this genre's creative potential, Virginia Worley begins by considering the term's etymology before positioning her analysis of Montaigne's work within metaphor research. She then examines the metaphors Montaigne used to paint the triptych word painting that embodies his philosophy of education: the meaning and value of educating in and for the art of living well. (shrink)

Summary: This book is the first serious attempt to compare the major trends of this school of thought and to discuss their similarities and differences from a non-belligerent position… Lindemann’s book is a competent and very valuable introduction to the ideas of constructivism and their application to pedagogy.

The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the 'period eye' offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, (...) where such representations of history could be experienced as a collective 'dream-work', in Freud's sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the 'Lyon School'. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud's 'condensation' and 'displacement' the concepts of 'Resurrection' and 'Restoration', I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema. (shrink)

When painter Fritz Janschka arrived from Vienna to teach at Byrn Mawr College in October, 1949, he entered a culture seemingly as alien to his art as one can imagine. Janschka is one of the co­founders of the Vienna School of Fantastic Realism, a group of painters who studied at the Academy of Fine Arts in Vienna shortly after World War Two. The fantastic realists cultivated a precisely controlled craft informed by traditional methods and modernist sensibilities, incorporating collectively the (...) entire range of Western painting, past and present, in their attempts to come to grips with a shattered world. New York Abstract Expressionism and Viennese Fantastic Realism, two mid-twentieth century art movements, represent diametrically opposed ways of painting, yet both schools sprang out of surrealism. The Fantastic Realists were widely known in Europe and hardly known in America. Given the dominant abstractionist tendencies of post-World War Two art this is understandable. For these reasons Janschka’s openness to the techniques of the New York School in the early 1950s forms an unlikely meeting point of seemingly irreconcilable positions, one suggestive of possibilities for the meeting of abstraction and figuration, and more broadly, for addressing contemporary dehumanizing abstractionism, which I discuss in this essay. (shrink)

The experience of peer rejection in the classroom, an environment in which students spend a large part of their time, is accompanied by a sense of social pain which can have a profound effect on self-perception and attitude toward the overall school environment. These attitudes can be subsequently reflected in the student’s behavior at school and in his/her school success. The research aims to identify differences in the perception of school life (interpersonal and intrapersonal) among rejected (...) and popular upper-primary school students. For this purpose, the sociometric nomination method and a questionnaire measuring the student’s perception of the school environment were used. From a total of 1,625 students (aged 11–15) from 20 schools, 312 students with the status of popular (liked) and rejected (disliked) were included in the research. The multivariate analysis of covariance (with age and gender as covariates) results revealed no significant differences between the two contrasting groups (popular and rejected) in terms of the perception of school life (interpersonal and intrapersonal). The results of the research indicated a different perception of the school environmentwithinthe groups of rejected and popular students rather than differencesbetweenthe groups. Both the rejected and popular students report contradictory attitudes toward school life. Half of the students indicated that they feel lonely at school and have no confidence in teachers, considering the school a place where they do not like to learn, where they are troubled and where they do not like to talk to their classmates. Perhaps counterintuitively, a larger number of popular students stated that they feel lonely than did the rejected students from the class. Although the results do not paint a very positive picture of perceptions of the school environment, this should be seen as an opportunity to develop active class work with a greater emphasis on strengthening collective trust in the school. (shrink)

Chi biasima la pittura, biasima la natura . . . . Stephen Newton is a 53 year old professional artist with a doctorate from the Centre for Psychotherapeutic Studies at the University of Sheffield. He is therefore one of a niche academic fraternity working the disputed borderlands between empirical cognitive science, psychoanalysis as a school of neurophilosophy, psychoanalysis as a clinical professionalism, and the philosophy of art. This is his first high profile book, and it stands proudly in a (...) series which goes back to Freud's 'Leonardo' and which includes Ehrenzweig's 'The Psychoanalysis of Artistic Vision and Hearing' , Kuhn's 'Psychoanalytic Theory of Art' , Gedo's 'The Artist and the Emotional World' , Glover's 'Psychoanalytic Aesthetics' , and a host of anthropological input from the likes of Andr? Leroi-Gourhan, Michel Lorblanchet, Georges Sauvet, Jean Clottes, and Howard Morphy. The book's seven chapters fall into two neat sections, namely an early theoretical statement on the psychodynamics of artistic creation, followed by an erudite application and extension of that theory. (shrink)

Still life as an independent painting genre in Chinese fine art was formed in the second half of the XX century under the strong influence, first of all, of Western European and Russian, and then American art. This relatively short period of time includes several periods at once, in which one or another influence dominated. However, it was the integration of the ideas and principles of foreign art schools that allowed Chinese masters to develop those features of the artistic (...) and figurative language that determined the features of the genre of still life in the space of modern art. The object of the article is the process of development of Chinese still life in the second half of the twentieth century, the subject is a set of expressive and artistic means used by Chinese artists to create a still life under the influence of foreign artistic trends. This article aims to determine the place and features of the genre of still life in the works of Chinese painters of the second half of the XX century, as well as to characterize the conformity of this genre to the trends of Russian and Soviet, as well as European art. The study concluded that this genre received rapid development in the second half of the XX century, which occurred under continuous foreign artistic influence. The occupation of a strong position in the space of Chinese art by still life and the formation of its original character with national specifics occurred at the end of the twentieth century. (shrink)

Ioannis Spatharakis has produced a book about the iconography of seventy-three painted churches of Crete. Given the lack of an exhaustive photographic publication of the Byzantine wall paintings of the island and the relatively few monographs on individual churches, in the past forty years scholars have attempted to compile synthetic works with mixed results. Three other volumes have dealt with Cretan frescoes prior to Spatharakis's book reviewed here: K. D. Kalokyris, The Byzantine Wall Paintings of Crete (New York, 1973); Manfred (...) Bissinger, Kreta. Byzantinische Wandmalerei. Münchener Arbeiten zur Kunstgeschichte und Archäologie 4 (Munich, 1996); and to a lesser degree Klaus Gallas, Klaus Wessel, and Manolis Borboudakis, Byzantinisches Kreta. Studium und Reise. (Munich, 1983) which is a learned, comprehensive travel guide. (shrink)

Traditional Chinese landscape painting serves as a profound cultural and spiritual expression, reflecting the Chinese people's reverence for nature through symbolic representation, aesthetic philosophy, and artistic craftsmanship. Since its emergence during the Tang Dynasty, landscape painting evolved into a distinct art form characterized by spiritual contemplation and cultural symbolism. Its development through the Song, Yuan, Ming, and Qing dynasties led to the establishment of northern and southern schools, each with its unique techniques and philosophical underpinnings. In modern society, (...) technological advancements and the influence of Western art have posed new challenges and opportunities for landscape painting. This study explores the philosophical and spiritual dimensions of landscape elements in traditional Chinese art while examining innovative techniques that merge classical aesthetics with modern artistic expressions. Through analyzing the works of key landscape painters, the study highlights advancements in thematic representation, stylistic innovation, and symbolic meaning, offering insights into how traditional landscape painting can be revitalized in contemporary art while preserving its cultural and spiritual heritage. (shrink)

In this paper I reconstruct and compare criteria of theoreticity that have been developed by Carnap, Sneed and proponents of the Munich school of structuralist philosophy of science. For this purpose I develop a unified framework in which one can transform model-theoretic theory representations into linguistic ones, and vice versa. This bridges the gap between statement and non-statement view and allows a precise comparison of linguistic and model-theoretic criteria of theoreticity. In the final part I suggest a system (...) of improved definitions of theoreticity and pre-theoreticity. (shrink)

In 1233 a certain R. Joseph bar Moses of Würzburg commissioned an illuminated copy of Rashi's Bible commentary, now in Munich. After the text was finished, the task of illuminating was put into the hands of a Christian painter, apparently a man named Heinrich, who kept a lay workshop in Würzburg . Three years later a giant Bible, now in Milan, was commissioned perhaps by the same patron, but not necessarily in the same city . It, too, was illuminated; (...) this time, however, it cannot be excluded that the paintings were made by Jewish artists. Both manuscripts are richly decorated with narrative scenes involving human figures. In the following decades it became more and more customary for wealthy Jews of Germany and northern France to have their Bibles, prayer books, and other texts adorned with figural miniatures. Yet there is no evidence that during the Middle Ages human figures were painted in any form in a Jewish context before the 1230s. A few textual references from the twelfth century indicate wall paintings and stained-glass windows in synagogues with images of animals and dragons, but none have survived. Some decades after the first illuminated books made their appearance, the most outstanding authority on religious law of his time, R. Meir ben Barukh of Rothenburg , was asked his opinion of this phenomenon. R. Meir was worried, as his reply shows, but not for reasons of religious law; his concern was that images in painted books would distract believers from their pious concentration during prayer. (shrink)

I offer an interpretation of the puzzle posed by Greenberg’s failure to come to terms with the explosion of postmodernist experimentation in the 1960’s. Greenberg, one of the most influential critics of the immediately preceding period and a strong supporter of New York abstract expressionism and color field painting, is indelibly associated with modernist schools of painting. His short essay, “Modernist Painting”, valorized precisely these movements and was a tour de force catapulting Greenberg into critic superstar status; (...) it is still one of the central documents in debates about modernism. Because Greenberg there makes references to Kant’s aesthetics in identifying the virtues of modernism his account is usually interpreted in terms of the formalism of the period and Kant’s analytic of the beautiful. This offers a reading of Greenberg as a formalist and as identifying modernism with a concern for the formal properties of art, the flatness of the picture frame and the formal relations between the aesthetic properties. Greenberg was also celebrated as having a legendary acuteness of aesthetic appreciation—a critical eye penetrating immediately to a work’s aesthetic depth. (shrink)

This article mainly focuses on one of the most refined movements in world aesthetics and fine art—one that spread when Chinese Renaissance ideas arose during the Song Epoch and that was called the Intellectual Movement. The ideological sources of intellectual aesthetics are discussed—as well as the distinctive nature of its fundamental theoretical views and of its creative principles in relation to a changing historical, cultural, and ideological contexts. The greatest attention is devoted to a complex analysis of the attitudes toward (...) the artistic creation of the most typical intellectuals, Su Shi and Mi Fu; the close interaction between the principles of painting, calligraphy, and poetry is emphasized; a special attention is paid to the landscape genre and to conveying the beauty of nature. This article discusses in detail the most important components of artist’s creative potential, the opportunities to employ them during the creative act, and the influence of Confucian, Daoist, and Chan aesthetic ideas. The various external and internal factors influencing the intellectual creative process are analyzed; artist’s psychological preparation before creating is discussed along with the characteristics of his entrance into the creative process. This article highlights the meditational nature of artistic creation typical of representatives of this movement, the freedom of the spontaneous creative act, and the quest for the inner harmony of the artist’s soul with expressions of beauty in the natural world. (shrink)

A main issue in Swedish school debate is the question of how to teach the student a common value system based on democracy and western humanism. The debate is rather intense, to say the least. Not only is the premise that there exists one value system that we share a target for critique, but there is also the question of what value education is or could be. There is, as well, quite a body of research on children's moral development, (...) where many take as their departure the work of Kohlberg. However, there has been little or no attention on how the individual learner conceptualizes and makes meaning out of ethical issues. That is, descriptions of processes. In this paper we will present what we take to be urgent questions that need to be investigated against the background of prior research and practical work at Södra teatern in Stockholm, Sweden. For eight years in a row, Södra teatern has had as a main project to lead a practice on the subject of philosophy with children. Several groups of youths in the age of nine to eighteen have regularly met to discuss philosophical thoughts and problems, which in a democratic manner are settled for discussion by the participants. Today this philosophical practice has spread to the north of Sweden. In Backman's final exam within the teacher education she has explored the development of children's (7‐8 years old) ability to argue for different ethical positions, both verbally and in writing and painting. This practice has been inspired by the tradition at Södra teatern, but customized to fit a regular school class in Luleå, with very little experience of philosophical discussion. In the very short period of five weeks Backman has been able to see quite significant changes in the children's ability to argue for their ethical positions. The study was initiated by examining some argumentative abilities of the pupils, for instance the ability of expressing an argument for an ethical position in writing. In the final part of the study, the same ability was examined in very similar circumstances, and the augment of expressed arguments in writing was significant. Another consideration that was raised as a consequence of the study regards the pupil's conceptualizing of ethical issues. In some conversations about the notion of justice it became clear that children interpreted the term very differently. This is not very surprising but important to pay further attention to. As mentioned earlier, there has been very little attention on how individual children conceptualize ethical issues. In this paper we argue that more interest should be put on investigating these issues in more depth, and we will do this by an outlining of a research application. (shrink)

One fall evening in 1880, Russian painter Ilya Repin welcomed an unexpected visitor to his home: Lev Tolstoy. The renowned realists talked for hours, and Tolstoy turned his critical eye to the sketches in Repin's studio. Tolstoy's criticisms would later prompt Repin to reflect on the question of creative expression and conclude that the path to artistic truth is relative, dependent on the mode and medium of representation. In this original study, Molly Brunson traces many such paths that converged to (...) form the tradition of nineteenth-century Russian realism, a tradition that spanned almost half a century--from the youthful projects of the Natural School and the critical realism of the age of reform to the mature masterpieces of Tolstoy, Fyodor Dostoevsky, and the paintings of the Wanderers, Repin chief among them. By examining the classics of the tradition, Brunson explores the emergence of multiple realisms from the gaps, disruptions, and doubts that accompany the self-conscious project of representing reality. These manifestations of realism are united not by how they look or what they describe, but by their shared awareness of the fraught yet critical task of representation. By tracing the engagement of literature and painting with aesthetic debates on the sister arts, Brunson argues for a conceptualization of realism that transcends artistic media. Russian Realisms integrates the lesser-known tradition of Russian painting with the familiar masterpieces of Russia's great novelists, highlighting both the common ground in their struggles for artistic realism and their cultural autonomy and legitimacy. This erudite study will appeal to scholars interested in Russian literature and art, comparative literature, art history, and nineteenth-century realist movements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:7 Franciscan Studies 62 (2004) THE FRANCISCAN INSTITUTE HONORS GIOVANNI MICCOLI On July 16, 2004 Professor Giovanni Miccoli, a respected scholar of medieval, Church and Franciscan history, received the Franciscan Institute Medal from St. Bonaventure University during its celebration of the Feast of St. Bonaventure. University president Sr. Margaret Carney, O.S.F., and Fr. Michael Cusato, O.F.M., director of The Franciscan Institute and dean of the School of Franciscan (...) Studies, presented the medal during an Academic Convocation at 7 p.m. in The Regina A. Quick Center for the Arts. A reception followed in the Dresser-Rand Atrium. During the Convocation, Giovanni Miccoli gave a presentation, “A Reading of the Christian Proposal of Francis According to His First Biographers,” continuing a longtime focus on the study of Francis of Assisi and his contributions to the Church. Professor Miccoli, who was born in Trieste, Italy, in 1933, studied in Pisa at the Scuola Normale Superiore and the Università, in Munich at the Monumenta Germaniae Historica, and London at the Warburg Institute. He has taught in Pisa, Venice and his native Trieste, where he is now a professor emeritus at the Università di Trieste. A historian of the Middle Ages and of the Roman Catholic Church, he has combined those loves to specialize first in the Gregorian Reformation, reforms undertaken within the Church under Pope Gregory VII at the end of the 11th century. Turning his eyes to more modern times, he is also an expert on the relationship between the Catholic Church and Fascism in Italy, including the questions related to Pius XII’s pontificate during World War II. His study of the Church in Italy during the Middle Ages led to a focus on Francis of Assisi and his impact on the Church, which led to his becoming one of foremost Franciscan scholars of modern times. Miccoli is particularly known for his contribution to 1974’s “La Storia Religiosa” (Religious History of Italy), which is the second volume of “Storia d’Italia” (History of Italy). In “La Storia Religiosa” he examined how Francis and his movement influenced the history and development of the Church in Italy. 8 GIOVANNI MICCOLI Since that time, he has published several major articles on Franciscan issues, largely drawing from early Franciscan documents and sources, which have been translated from Italian to English and published in Greyfriars Review, a publication of the Franciscan Institute. One essay, “Francis of Assisi’s Christian Proposal,” was published in Italian in 1983 and in Greyfriars Review in 1989; another, “A Christian Experience Between Gospel and Institution,” appeared in Italian in 1992 and in Greyfriars Review in 1997; while a third, “The Writings of Francis,” was published in Italian in 1997 and in Greyfriars Review in 2001. The Franciscan Institute established the medal in 1987 to honor scholars who have made outstanding contributions to Franciscan studies in the areas of philosophy, theology, history and spirituality. Giovanni Miccoli was the 16th recipient of the medal. Recent honorees have included Fr. Clément Schmitt, O.F.M., Sr. Ingrid Peterson, O.S.F., Fr. Kenan Osborne, O.F.M., and Fr. Zachary Hayes, O.F.M. THE FRANCISCAN PROPOSAL OF GIOVANNI MICCOLI Giovanni Miccoli was born a little more than seventy years ago in the city of Trieste in northern Italy. He studied at the Scuola normale superiore of Pisa, the most prestigious school in Italy, where he was taught by renowned professors, particularly Arsenio Frugoni. He also received scholarships to study in Munich, Germany, and in London, England. Although he was offered a wide variety of important research and teaching positions in the major cities of Italy, he chose scholarly authority over academic power, and decided to return to his home town and join the university of Trieste, where he taught until his recent appointment as professor emeritus. Trieste is a city at the crossroads of the Latin, Germanic and Slavic worlds. Although largely ignored nowadays, in the past it was the harbor of Austria and, more recently during the Cold War, the last city of Western Europe facing the communist world. It is an enigmatic, fascinating city. This evening we honor Giovanni Miccoli as one of the greatest... (shrink)

Painted in 1656 by Diego Velasquez (1599-1660), Las Meninas has engendered countless philosophical commentaries. Artists, too, have explored the painting's puzzles and paradoxes. All of the responses to this masterpiece, now over 350 years old, show that Las Meninas continues to live with us on several levels. Indeed, Las Meninas is one of the most controversial paintings of our time (Brown and Garrido, 1998, p. 181); no small feat given that cutting-edge art today is often media-based and/or media-driven. The (...) wealth of controversy has generated so much material since the work's conception that James Elkins, in his book Why Are Our Pictures Puzzles, characterized Las Meninas as an artwork that has become monstrous. According to Elkins, it has effectively outgrown the discipline of art history. Like the frescos in the Brancacci Chapel, the Mona Lisa, Raphael's School of Athens and the Oath of Horatio by David, the scholarship surrounding Las Meninas is so vast that no single thinker or volume can present it fully; it is not even possible to teach these works in a yearlong seminar (Elkins, 1999). While I am among those captivated by the painting, I am also aware of how little a short essay can accomplish. Nevertheless, I do hope to convey why this immense canvas continues to inspire people creatively, intellectually, and passionately. In terms of consciousness, my comments are intended to weave the physicality of the work with epistemological interpretations and empirical investigations so that its mutability is more present in our consciousness discourse. (shrink)

In 1924, the Munich-school phenomenologist Moritz Geiger argued that there are dynamic essences. His two examples are the tragic, and being human, his main ideas are that what it takes to be tragic varies over time historically and that what makes an organism human varies across different stages of its ontogenetic development. He hence points to two ways in which essences may be dynamic, that is, subject to change. The current paper takes Geiger’s view seriously and assumes that (...) it poses an explanatory challenge for the, then and now, standard view that essences are ‘Platonic’, i.e. cannot be subject to change. In the first part of the paper, I introduce Geiger’s view and a bit of its historical context. In the second, I first formulate the challenge it poses to the standard ‘platonic’ view of essence, then discuss how this challenge can be met by a contemporary view of essence discussing three potential responses. The first relies on a notion of relativized essence, the second on the distinction between determinables and determinates, the third and last one on multidimensional properties. Finally, I argue that the last of these three proposals may be preferable to the other two. (shrink)

The text of “The Four Premises” (Muqaddimāt al-Arba‘a), which began with Sadr al-Sharī‘ah (d. 747/1346), centralizes on the actions of human beings by connecting it with the problem of good and evil in the field of kalām, Islamic philosophy and logic, and fıqh. It was also commented in with incisive and critical footness by Sa‘d al-Dīn al-Taftāzānī (d. 791/1390). In Ĥāshiya ‘alā Muqaddimāt al-Arba‘a, al-Kastalī (d. 901/1496) discusses the two main issues. One of them is good/husn-evil/qubh, the other is human (...) actions. Good-evil dichotomy here is axiological, whereas the human actions are examined within an ontological structure. The quest for the origin of moral values is a husn-qubh debate. Identifying the hierarchy of human actions in ontology is another problem. The main purpose of this study is to investigate the theological discussions in the Ĥāshiya ‘alā Muqaddimāt al-Arba‘a which were written following the order of Sultan Mehmed the Conqueror/Fatih. This text addresses the origin of moral judgment and the question of freedom and destiny in human actions linked to the problem of good and evil. Discussing these two fundamental issues, has made it necessary to thoroughly investigate perhaps all the subheadings which concern the entire paradigm that falls under the framework of understanding the God, nature, and humanity. By looking at the treatise, the main sources of the issues being discussed are mostly generated from an Islamic jurisprudence works, entitled Tawḍīḥ and Talwīḥ. It can easily be discerned that the direct quotations that were made or taken indirectly were from these two sources. References to other sources were quite seldom. However, the excerpts that were taken from primary sources were interpreted and expounded by the author and amended anew. In this article al-Kastalī’s comments will be analyzed. He’s work Ĥāshiya ‘alā Muqaddimāt al-Arba‘a will be analyzed in depth and will be published for the first time with a critical edition. Text of Muqaddimāt al-Arba‘a is a product of a culture of criticism and critical thinking has two foundations: Disproval and verification. Critical thinking is then bidirectional. It is wrong to carry out the criticism activity in only one direction. It is insufficient to simply refute the opposing idea. It is not enough to show the wrong. The so-called right idea also needs to be justified. In the Tawdīh, Sadr al-Sharī‘ah criticizes al-Ashʿarī in the issues of husn-qubh and human actions. According to this criticism, good and evil should be based on the reason. On the other hand, human is free in his actions. As it is known, goodness and badness was based on religion according to al-Ashʿarī. Acquisition (kasb) given to man was unclear. It is al-Taftāzānī who wrote an annotation on Tawḍīḥ with the name of Talwīḥ. He’s comments are successful in terms of theology. However, these interpretations do not mean that he accepted the Muqaddimāt al-Arba‘a. In terms of al-Taftāzānī, proofs of Sadr al-Sharī‘ah is weak. The theological disputes in Tawḍīḥ and Talwīḥ have reached the level of tension in the following works. The origins of the divergence are based on the differentiation between the schools of al-Māturīdi and al-Ashʿarī. In fact, these schools are not different from each other in terms of the method they use. Although the roads walked were the same, the results achieved were different. The main reason for this is that the issue is ambiguous and the problem of good and evil is multidimensional. It is directly related to God and human. It is also connected with ontology and epistemology together. The position on the husn-qubh issue is also decisive for other theological problems. The root of the evil problem or theodicy is mostly based on this problem in Islamic thought. The actions of God and human are questioned here. The value judgments that actions will take are examined. Which action is more moral and better? Another major problem discussed in this article is human actions. It is a matter of freedom of human volition. The volition of man before the absolute God is a problem. Because God has absolute power, will and knowledge. On the other hand, God imposes responsibility on man. But what are the limits of this responsibility? Al-Kastalī discusses all these problems in the context of Sadr al-Sharī‘ah and al-Taftāzānī. In the big picture there are representatives of the schools of al-Māturīdi and al-Ashʿarī. Al-Kastalī doesn’t paint a new picture, rather makes the lines in the picture clear. In this article, the texts will be analyzed mutually. The content and uses of the concepts will be given importance. Ideas will be discussed from their main sources and the roots and different reach of the issues will be touched. The interactions of different schools of thought will also be included. (shrink)

The article presents theoretical generalization and offers new solutions to the problem of developing creative skills in preschoolers in painting classes, taking into account the postmodern tendencies which are becoming increasingly common in the post-Soviet countries. The relevance of the article lies in the need to reform today’s education system in the post-Soviet space and develop pedagogical technologies to enhance the effectiveness of preschool education and reveal the creative potential of each child in the context of the postmodernism and (...) the latest achievements in psychology of creativity. The paper aims to develop and theoretically justify a technology for developing creative skills in preschoolers in painting classes in educational institutions for the postcolonial democracies on the example of Ukraine based on the analysis of relevant scientific sources and teaching placement. The article also substantiates the technology for developing creative skills in preschoolers in painting classes, which is defined as a model for organizing artistic and aesthetic activity of preschoolers aimed at expanding their cognitive experience and emotional perception of the world, as well as cultivating their aesthetic attitude to its objects and ensuring creative self-expression of each child. The article proves the validity of the open performative postmodernist approach, according to which playing activities, perception and enjoyment from creativity act as the main drivers of the creative activity of primary school children. (shrink)

There is wide research about the Philosophy for/with Children program. However, there is not any known attempt to investigate how a philosophical discussion can be implemented through a museum workshop. The present research aims to discuss aesthetic and epistemological issues with primary school children through a temporary art exhibition in a museum in Cyprus. Certainly, paintings have been used successfully to connect philosophical topics with the experiences of the children. We suggest, though, that this is not as innovative as (...) the conduction of a dialogue in a museum. Results were mostly positive. Pupils participated in the discussion and they gave intensive definitions of beautiful paintings and counterexamples for given definitions. The structure of inductive arguments and the difference between belief and knowledge were discussed. Progress in the analysis of inductive arguments was slightly noticeable, but it is likely that this was due to limited time spent on analysing those arguments. Furthermore, more sessions are needed to make generalisations for the effectiveness of the Philosophy for Children program in a museum instead of a traditional classroom. Even though there is discussion about the different stimuli of the discussion, it might be worth considering the effectiveness of different contexts where the discussion can take place. (shrink)

The aim of this paper is to show how a sensory approach to visual arts can be relevant for philosophy and how this prism, once brought to philosophy, can give insights on art in return. I will try to demonstrate that the difference between modernity’s two main schools of thought (namely, materialism and idealism) can be understood – thanks to the model of painting as an allegory of the world – as an exclusive preference for one sense: touch for (...) materialism and sight for idealism. Much as the two schools differ, both consider the painting (or the world) a finite picture, whose elements can be juxtaposed in a single homogeneous plane of knowledge devoid of any opacity. This leads to separate both vision and the mind from the body and from the world. As a result, sight and touch end up dissociated. That is why, to challenge this modern paradigm and renew with a holistic relationship to the world and to ourselves, philosophers and artists propose a shift towards a synaesthetic approach to painting. Such an approach will uncover a modality of being where the body, the subject, and the world, as well as sight and touch, can be reunited. Thus, I will show that Merleau-Ponty’s ontology of the flesh – that echoes through the paintings of artists who attempt to break free from the frame and engage the observer with all his senses and being, such as Racławice Panorama, Malevich, El Lissitzky, Cézanne or the Navajos’ sand paintings – can offer, thanks to a synaesthetic approach, both a new framework for philosophy and a new understanding of visual arts. (shrink)

Modern history has looked on the United States of America as a country with a very distinct and proud national heritage and identity, though this was not always so. When founded in 1776, America was a nation that had not yet developed the identity and customs that would soon come to define the country nationally and internationally. The articulation of this distinct identity fell to the artist class and, in particular, first and second generation American painters. Painters such as Thomas (...) Eakins, Thomas Cole, and the Hudson River School of artists pulled from their natural surroundings to create art that would foster pride in the values of peace, liberty, and freedom. Without these early painters, the United States would not have the strong identity that is so well known today. (shrink)

In manuscripts of 1930-1 Johannes Daubert, principal member of the Munich board of realist phenomenologists, put forward a series of detailed criticisms of the idealism of Husserl’s Ideas I. The paper provides a sketch of these criticisms and of Daubert’s own alternative conceptions of consciousness and reality, as also of Daubert’s views on perception, similar, in many respects, to those of J. J. Gibson.

About the Author James Elkins is E.C. Chadbourne Chair in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago. His many books include Pictures and Tears, How to Use Your Eyes, and What Painting Is, all published by Routledge. Michael Newman teaches in the Department of Art History, Theory, and Criticism at the School of the Art Institute of Chicago, and is Professor of Art Writing at Goldsmiths College in (...) the University of London. His publications include the books Richard Prince: Untitled (couple) and Jeff Wall, and he is co-editor with Jon Bird of Rewriting Conceptual Art. (shrink)

In this study, the depictions of miʿrac in the Haveranname of Ibn Husam Husafi (d.875/1470-1471), of the Timurid Era, and the Khamse of Nizami (d.597-611/1201-1214), of the Safavid Period (1501-1736), are examined comparatively. The work in Haveranname was produced by Farhad (d.883/1478-1479), the leading figure of the Shiraz miniature school of the Timurid period, and his apprentices. The miʿrac miniature in Nizami's Khamse was painted by Sultan Muhammed (d.963/1555-1556), a prominent artist of the Safavid period. Sultan Muhammed’s miniature is (...) included in foreign publications, but some of its themes are not properly explained. The miʿrac of Farhad, on the other hand, has not been included in publications and has only been described in a few shallow sentences. In both miniatures, the composition of the visual elements and the use of imagery differ; thus, both works reflect different artistic qualities and construction codes. In fact, the socio-cultural elements of both periods, their understanding of aesthetics and forms of daily life (such as clothing and attire) shape the visual panorama of the miniatures in different frameworks. The artistic and social factors of the two periods and the common visual elements in miniatures affected the clothing and personalities of the works, and the artists created the works under the influence of art patron and customer in the spiritual atmosphere dominating these two periods. This study aims to reconstruct the timeless universal message of art on the axis of a phenomenon by comparatively introducing both miniatures to the scholarly world. The data obtained in the research are analyzed analytically and then evaluated with a descriptive method. (shrink)

In this review essay of Harumi Osaki’s book, Nothingness in the Heart of the Empire, about the Kyoto School’s wartime political philosophy, I examine the arguments and claims behind Osaki’s thesis that the Kyoto School tends to align itself with nationalist and imperialist formations that lead to political concerns. I focus on some of the concrete problems with her arguments, including the book’s lack of examination of the sociopolitical context behind and surrounding the philosophers’ wartime discourse. These problems (...) result in a one-sided or unbalanced image of the Kyoto School, lacking nuance and painting complex grey areas in black and white. (shrink)

In this study, Alan Paskow first asks why fictional characters, such as Hamlet and Anna Karenina, matter to us and how they emotionally affect us. He then applies these questions to painting, demonstrating that certain paintings beckon us to view their contents as real. As emblematic of the fundamental concerns of our lives, paintings, he argues, are not simply in our heads but in our world. Paskow also situates the phenomenological approach to the experience of painting in relation (...) to contemporary schools of thought, particularly Marxist, feminist, and deconstructionist. (shrink)

In connection with the "Philosophy of Science" research program conducted by the Deutsche Forschungsgemeinschaft a colloquium was held in Munich from 18th to 20th May 1919. This covered basic structures of physical theories, the main emphasis being on the interrelation of space, time and mechanics. The present volume contains contributions and the results of the discussions. The papers are given here in the same order of presentation as at the meeting. The development of these "basic structures of physical theories" (...) involved diverging trends arising from different starting points in philosophy and physics. In order to obtain a clear comparison between these schools of thought, it was appropriate to concentrate discussion on geometry and chronology as the common foundation of classical and quantum mechanics. As a rather simple and "Tell prepared field of study, geochronometry seemed suited to analysing these mutually exclusive positions. vii D. Mayr and G. Sussmann (eds.), Space, Time, and Mechanics, vii. Copyright © 1983 by D. Reidel Publishing Company. ACKNOWLEDGEMENT The editors gratefully appreciate the sponsorship of the Deutsche Forschungsgemeinschaft and the cooperation of the authors and publisher. It is also a pleasure to thank Frau M.-L. Grohmann and Frau I. Thies for their organisational and especially Frau B. Grund for typing and clerical work. D. MAYR G. SUSSMANN 1982 University of Munich viii INTRODUCTION The distinct positions present at the symposium may be roughly divided into three schools that differ in their philosophical interpretation of physics and their meta-... ~. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)