In Engraving Virtue , Young Kyun Oh investigates the publishing history of the Samgang Haengsil-to , a moral primer of Chosŏn , and traces the ways in which woodblock printed books contributed to shaping premodern Korea.

This text deals with the relationships between the phenomenalizations of hand and engraving art, especially against the background of Gaston Bachelard’s philosophical commentaries on the works of Albert Flocon. Special space is devoted to the interpretation of Flocon’s engraving of two hands in connection with Escher’s similar lithography. Another thematic field is the role of the tool and the hand equipped with the tool. However, the central axis of this thinking is the interconnection or intertwining of body and (...) matter, the interactive relationship between human being and matter, between visual observation and dynamic haptics, which require a certain force and thus also experience the back pressure of matter. The conclusion of the text draws attention to a specific engraving, such as writing, especially the writing of a philosophical text, as we read about it in Bachelard’s book The Flame of a Candle, the last word of which is—surprisingly—engraving. (shrink)

Images in the service of scientific knowledge (broadly construed) in early modern Europe have received much scholarly attention in recent years. Given that this was a period where there was a large...

A rich intellectual encounter, revolving around the hands of the experimenter and those of the artist, highlighting the relation between the sciences and the arts. This book is the first to explore in detail the encounter between Albert Flocon and Gaston Bachelard in postwar Paris. Bachelard was a philosopher and historian of science who was also involved in literary studies and poetics. Flocon was a student of the Bauhaus in Dessau, Germany, who specialized in copper engraving. Both deeply ingrained (...) in the surrealist avant-garde movements, each acted at the frontiers of their respective métiers in exploring uncharted territory. Bachelard experienced the sciences of his time as constantly undergoing radical changes, and he wanted to create a historical epistemology that would live up to this experience. He saw the elementary gesture of the copper engraver—the hand of the engraver—as meeting the challenge of resistant and resilient matter in an exemplary fashion. Flocon was fascinated by Bachelard’s unconventional approach to the sciences and his poetics. Together, their relationship interrogated and celebrated the interplay of hand and matter as it occurs in poetic writing, in the art of engraving, and in scientific experimentation. In the form of a double biography, Hans-Jörg Rheinberger succeeds in writing a lucid intellectual history and at the same time presents a fascinating illustrated reading of Flocon’s copper engravings. Hans-Jörg Rheinberger is Director Emeritus at the Max Planck Institute for the History of Science, Germany. Kate Sturge is a translator and editor based in Berlin, Germany, and Visiting Senior Lecturer in Translation Studies at Aston University, United Kingdom. (shrink)

Cet article propose d'étudier l'organisation de la frappe monétaire dans le Péloponnèse entre le règne d'Hadrien et celui de Septime Sévère. Sur la base de l'examen stylistique des monnaies produites à cette époque, l'auteur tente d'établir que, comme l'avait démontré K. Kraft pour l'Asie Mineure, plusieurs cités s'adressaient alors au même atelier pour réaliser leurs émissions monétaires ; des liaisons de coins de droit entre des monnayages différents sont d'ailleurs attestées. L'étude révèle également l'existence, à l'époque de Septime Sévère, de (...) séries particulières, qualifiées ici de « coordonnées » : il s'agit d'émissions où l'on a manifestement tenté d'uniformiser les types monétaires de nombreux monnayages péloponnésiens. (shrink)

Vasari said that Marcantonio Raimondis first engraving after a design by Raphael was the Suicide of Lucretia, but he most likely confused it with the similar but much smaller Suicide of Dido, also engraved by Marcantonio. Following the Didos success Raphael no doubt wished Lucretia to be larger and bolder. The two figures were probably recycled from a group of dancers, perhaps the Muses, projected for a mural decoration; a drawing by Raphael adapted to Lucretia is precisely in the (...) style of his Parnassus studies The hypothesis that Dido and Lucretia were initially conceived as dancers is supported by a montage of the two figures silhouetted and by a glance at contemporary representations of dancing Muses. (shrink)

Within the framework of this article, the authors analyze the cycle of engravings "Apocalypse" by Albrecht Durer in the context of the categories of space and time that have developed in the history and philosophy of culture of the Middle Ages and Renaissance. The metaphysical essence of time, defined by Christian eschatology, found its vivid embodiment in the activities of many figures of artistic culture of that era. Apocalyptic moods, which largely determine the consciousness of people of the Reformation era, (...) were also inherent in A. Durer. The cycle of engravings "Apocalypse" in many ways should be considered as the quintessence of these moods and a reflection of the image of death that develops in this era. Space also acquires metaphysical characteristics, becomes heterogeneous, emotionally colored. The authors conclude that in the "Apocalypse" there is a mixed (and therefore very peculiar) interpretation of the category of time and space. It clearly shows the transition of the space-time representations of the Middle Ages to the ideas of time and space inherent in the New Time. It is also possible that we have before us one of the variants of the Renaissance mastery of the categories of time and space in the art of Europe. Attention is drawn to its openness and conscious demonstrativeness, because two artistic systems interact with each other on an equal footing; their stylistic potential and expressive means are used entirely, with full dedication and as a result, with maximum impressive force. (shrink)

Coming from a prosperous London Quaker family, the author Priscilla Wakefield wrote educational books for children, and one work for adults, Reflections on the Present Condition of the Female Sex, also reissued in this series. This 1796 book on botany, a science which 'contributes to health of body and cheerfulness of disposition' but is difficult to study because of its Latin nomenclature and the cost of textbooks, offers a simple introduction for children through the medium of letters between sisters, as (...) 'Felicia' shares with 'Constance' her growing understanding of plant science. Felicia's governess is a follower of Linnaeus, whose classificatory system is described as 'the one universally adopted', and by the twenty-eighth and final letter, Felicia is describing the class Cryptogamia. This illustrated account in simple language gives an insight into the level of education thought appropriate for young girls at the end of the eighteenth century. (shrink)

Sir Richard Phillips was a London-born author and publisher of educational textbooks who used a vast array of pseudonyms, including that of Reverend C. C. Clarke. Phillips' marketing techniques - the systematic borrowing of famous authors' names for his textbooks, along with the multiplication of easy to produce related educational products - were key to his success. No doubt meant as an accessible encyclopaedia, this 40th edition of 1834 - attributed to Phillips himself - is a surprisingly vast and heterogeneous (...) survey, which compiles natural and man-made curiosities across the world. The Himalayas and Mont Blanc share a chapter with the Peak of Derbyshire; famous rivers lead to mysterious subterranean forests; and Stonehenge is closely followed by St Paul's cathedral. Halfway between reference book and textbook, this richly illustrated volume is a fascinating catalogue of the world's wonders as perceived in the early nineteenth century. (shrink)

Engraved portable objects from Upper Palaeolithic and earlier sites are argued to be cognitive tools designed to store information for the purposes of calculation, record-keeping, or communication. This paper reviews the surprisingly long intellectual history of comparisons between these ancient objects and message sticks: marked graphic devices traditionally used for long-distance communication in Indigenous Australia. I argue that, while such comparisons have often been misguided, more cautious applications of ethnographic analogy may yield useful insights. A systematic analysis of historical observations (...) together with more recent fieldwork, indicate that Australian message sticks are primarily tools of social cognition, as opposed to cognition tout court, and rely on orality and other context to become meaningful. Further, the practice of message stick communication may help clarify ongoing problems in the interpretation of Upper Palaeolithic objects including their possible role in aggregation activities, the distinction between decoration and notation, and the interplay between graphic sequences and speech. (shrink)

Process engraver and printer Emery Walker was a pivotal figure in the English, American, and continental European Private Press Movement from the 1880s until his death in 1933. This article looks at his theories for the typography, design, and production of books, and how those theories were developed by key designers and close associates of Walker such as William Morris, T. J. Cobden Sanderson, and Bruce Rogers and through the practical teaching of figures such as J. H. Mason and Edward (...) Johnston. It examines how the theories were then taken up by the exponents of fine printing from the early 20th century through to the 1930s, focusing on the presses of Bernard Newdigate, Harry Kessler, Harold Curwen, and Francis Meynell. From these presses, and also via Stanley Morison and the Monotype Corporation, Walker’s theories are shown to have spread into mainstream book publishing in the first half of the 20th century. The article considers questions of whether the improvement in the readability of books in the early 20th century has had a continuing impact in book publishing, and makes suggestions how to access the incunabula referenced by the designers discussed, as well as collections of private press books and other early 20th-century fine printing. (shrink)

The opening words of the second book of Aristotle’s Nicomachean Ethics are as familiar as any in his corpus: Excellence of character results from habituation [ethos]—which is in fact the source of the name it has acquired [êthikê], the word for ‘character-trait’ [êthos] being a slight variation of that for ‘habituation’ [ethos]. This makes it quite clear that none of the excellences of character [êthikê aretê] comes about in us by nature; for no natural way of being is changed through (...) habituation [ethizetai]. Equally familiar, unfortunately, is the characterization of Aristotle’s notion of character formation as a form of habituation by means of the repetition of actions which results in a “habit” in the same way that a weight lifter produces muscles through the repetition of exertions. As a 19th century commentator remarked on the passage above, “[insert Grant].” From a Socratic perspective, such a view of becoming good seems hopelessly rigid and unconnected to the intellectual development which knowledge of the good requires. Habit and habituation in Aristotle seem eminently familiar and eminently unphilosophical. Such a view would be mistaken on at least three counts. First, the notion of character formation (to use the broadest possible term for the phenomenon of habituation) in Aristotle is significantly more complicated than the notion that through habituation one develops good habits which are what we mean by ethical virtue. Although character formation includes the development of proper emotional responses, such as taking pleasure in what is fine and being repulsed by what is shameful, it is equally concerned with cognitive development independent of the intellectual virtues. Second, although Aristotle’s terms for “ethics” (êthica), character-trait (êthos), and habituation (ethos, ethismos, or ethizetai) are linguistically and conceptually interrelated, his notion of “ethical state” (hexis) is both linguistically and conceptually quite distinct from the notion of “habit,” at least as we use that term today. As one Aristotle translator has put it, “A hexis is not only not the same thing as a habit, but is almost exactly its opposite.” For Aristotle, a hexis is a dynamic equilibrium which, although always productive of virtuous actions, is nonetheless the basis for being virtuous in varied circumstances. Thirdly, once Aristotle’s notion of a character state is retrieved from its false association with “habit” and repetitive habituation, one sees that its apparent divorce from practical reason is more a fixture of Aristotle’s analytical method and its connotations of inflexibility or fixedness are in fact antithetical to Aristotle’s description of ethical virtue. Rather than view ethical “character” in its Greek etymological sense as an indelibly fixed or engraved mark or stamp (charactêr) upon one’s soul, Aristotle’s notion of ethical character (êthos) or virtue (aretê) captures the notion of a virtuoso who is responsive in an excellent fashion to what reason perceives in particular and changing circumstances. (shrink)

[The Mechanics of Sorcery in the Context of Deceptive-Imitative Poetry] When we inquire as to how people could have a perverted preference for ignorance over knowledge, Plato’s statement that people are deprived of true opinions only against their will provides us with an essential clue for starting out: Depriving a person of something against their will is only possible by theft, by spells of sorcery, or by force. Victims of sorcery alter their opinions under the spell of pleasure or are (...) terrified by fear. However, the “sorcery” mentioned here is not a mysterious effect, but rather the deterioration of the harmony established between the three aspects of the soul in favor of appetite. The measure and harmony in the cosmos apply to the fundamental principles of the human soul, and rhythm is engraved on the soul as the protector of measure and harmony. Rhythmic speech is the reflection of “divine language” in the human world; the poet of the ancient period was the interpreter of the “sacred language” through which the divine word appeared. When the poet and the poetry both degenerate, the poet is reduced to nothing more than a common diviner or sorcerer. Since he knows nothing but how to imitate, he embellishes his work with colors from ancient arts. He speaks his words in rhythm, measure, and harmony in order to deceive reason, which is the aspect of our soul that is most prone to measurement and calculation. This is how the poet paralyzes it. Therefore, imitative poetry vitiates our soul “without even our souls hearing it”. (shrink)

'almost every branch of modern science can trace phases of its origin in his writings... in the broad field of science Boyle made a greater number and variety of discoveries than one man is ever likely to make again' - John Fulton, Boyle's bibliographer Robert Boyle (1627-91) was one of the most influential scientists and philosophers of the seventeenth century. The founder of modern chemistry, he headed the movement that turned it from an occult science into a subject well-grounded in (...) experiment, sound methodology and observation. His pioneering experiments on the properties of gases and his mechanistic theory of matter are the forerunners of the modern theories of chemical elements and atomic theory. He is best known for founding the renowned Boyle Lectures and for Boyle's Law that states that the pressure and volume of a gas are inversely proportional. A founding fellow of the Royal Society, three consecutive kings of England conversed familiarly with him. Philosophically, he wrote with sophistication on atheism, atomism, epistemology, miracles and natural laws. He influenced Berkeley, Spinoza, Henry More and especially John Locke, who relied on Boyle's theory of primary and secondary qualities in his Essay Concerning Human Understanding. Boyle's circle of correspondents included Newton, Locke, Aubrey, Oldenburg and Hartlib, and his influence on both British and European scholars was enormous. He also took a lead part in examining the relation of science to theology. This is the standard edition of Boyle's works and the only complete collection currently available. First published in 1772, it brings together his many and varied writings in one comprehensive, fully-indexed source. Covering his work in chemistry, philosophy and theology, it includes a Life of Boyle by Thomas Birch. The Thoemmes reprint of the second and best English edition features a new introduction by Peter Alexander, one of the world authorities on Boyle. --includes a Life of Boyle by Thomas Birch --features letters to and from Boyle --this rare edition is the only complete collected edition currently available and the standard text to which literature on Boyle refers --engraved frontispieces and several fold-out illustrations. (shrink)

Ever since Plato, a tragic conception of the human self has been the point de depart of moral and political philosophy: the I and the we belong to one another yet oppose each other. Ancients such as Aristotle contended that the we is ontologically prior and moderns such as Hobbes that the I is ontologically prior. I make the case that Jesus Christ realised an ontology which collapses this dichotomy: the human self is neither I nor we, but fundamentally I-we. (...) I demonstrate that this is an ontology of gift-dynamics, made explicit in the mythical complex of the cult centring on Jesus Christ, and engraved unto this cult's heart through ritual. (shrink)