Numerous apprenticeship contracts survive among the papyri of Graeco-Roman Egypt, but scholars have been left guessing whether this documentation offers a sound comparison to job training in Classical Greece. This paper points out that such apprenticeship contracts are firmly attested in a work of Xenophon, revealing that, by the mid fourth century b.c., Athens was already home to the practice of formal apprenticeship.

The playful discussion of 'horsemanship' that opens Sir Philip Sidney's Defence of Poesie has been variously interpreted as a straightforward anecdote about the chivalric arts, or an oblique rhetorical flourish, or something in between. This essay suggests a new context for Sidney's exordium by focusing primarily on its affiliation to the genre of the 'Art of Poetry'. In Horace's Ars poetica and other classical, scholastic and Renaissance treatises, horse–men and other unnatural hybrids embody the tension between decorum and poetic (...) liberty. Three major traditions inform this trope: by the Renaissance the centaur could be an allegory of reason's struggle with the passions, an emblem of the poetic imagination, or a figure for compositional hybridity associated, especially, with Lucianic satire. Reading Sidney in the light of these traditions, finally, this essay explores aspects of the centaur's significance in the Defence and the Arcadia, and suggests that this kind of attention to metaphor might provide a bridge between critical and creative modes of Renaissance poetic thought. (shrink)

Games may seem like a waste of time, where we struggle under artificial rules for arbitrary goals. The author suggests that the rules and goals of games are not arbitrary at all. They are a way of specifying particular modes of agency. This is what make games a distinctive art form. Game designers designate goals and abilities for the player; they shape the agential skeleton which the player will inhabit during the game. Game designers work in the medium of agency. (...) Game-playing, then, illuminates a distinctive human capacity. We can take on ends temporarily for the sake of the experience of pursuing them. Game play shows that our agency is significantly more modular and more fluid than we might have thought. It also demonstrates our capacity to take on an inverted motivational structure. Sometimes we can take on an end for the sake of the activity of pursuing that end. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.4 (2003) 609-612 [Access article in PDF] SARAH B. POMEROY. Spartan Women. Oxford: Oxford University Press, 2002. xviii + 198 pp. 11 black-and-white illustrations. Paper, $19.95. This "first full-length historical study of Spartan women to be published" (vii) is a very welcome book on an inadequately understood subject. Pomeroy's scholarly expertise for this study is firmly established; her research has been fundamental to examinations of (...) women's roles in classical antiquity—and has included contributions on ancient Spartan women. As Pomeroy notes in the preface, her recent books on Xenophon and on Plutarch, whose writings provide much of our evidence for ancient Spartan women, combined with her knowledge of women's roles and issues in ancient women's history, provide her the detailed expertise required for such a book-length work on Spartan women. In this review, I will note what I consider particular strengths of the book, as well as some weaknesses.The strengths of this book are many, central being the extended, systematic presentation of Spartan women's lives in different social arenas, at different stages of their lives, and even, to the extent possible, in different social classes; as for others, the evidence for Spartan women pertains primarily to elite women, thereby limiting a complete picture. The first three chapters are organized chronologically across a woman's life, beginning with "Education" (1), next "Becoming a Wife" (2), and then "The Creation of Mothers" (3). These opening chapters present the issues important in the rearing of Spartan girls and in adult women's roles in the community. The next three chapters fill out this substantial framework by looking more specifically at "Elite Women" (4), "The Lower Classes" (5), and "Women and Religion" (6). The conclusion looks at the idea of distinctive Spartan ethnicity within the ancient Greek world through the lens of the distinctive Spartan women's gender identity. An extensive appendix critically examines the "Sources for the History of Spartan Women"; eleven black-and-white illustrations, a detailed bibliography, and an index round out the text.In presenting their roles, Pomeroy often reinforces the general scholarly perception of strong Spartan women with extensive documentary or archaeological support frequently providing new or refined interpretations of the evidence. Thus, in the section on physical education (12-27), having already established that Spartan girls went through an educational system parallel to but probably less strenuous than the boys' agoge, Pomeroy brings together documentary and art historical evidence that demonstrates that "Spartan women's intense involvement in such activities was probably unique in the Greek world," noting further that "an impressive proportion" of the works of art pertaining to [End Page 609] the lives of Spartan women is "relevant to their athletic pursuits" (12). While various Greek writers, including Alkman, Aristophanes, Euripides, Plato, Xenophon, and Theokritos, take note of Spartan women's interest in racing and other athletics, "Plutarch (Lyc. 14.2) gives a more explicit account of the physical curriculum, mentioning running, wrestling, discus throwing, and hurling the javelin" (13). Although he leaves out horsemanship, Spartan "women as well as men were actively involved with horses, riding, driving horse-drawn vehicles, and engaging in competitive equestrian events" (19). Nor is it surprising "that a Spartan was the first female star in Greek athletics"—Cynisca, her horses victorious in the 396 and 392 Olympiads (21). Athletics are important not only as part of the girls' physical preparation for motherhood, but as integral to their sense of identity as adult women, derived from the practice of athletics both for sports and for ritual purposes. Although she treats religion separately in a later chapter, Pomeroy notes here that "Considering the likelihood that attention was not paid to women's athletics anywhere but Sparta, and given the historical evidence for Spartan domination of Elis in the archaic period, it is likely that the games were established along Spartan principles" and with mostly Spartan participants (26), which provides another example of how "the education of Spartans apparently affected the social construction of their religion" (18).Central to Spartan girls' and women's athletic activities... (shrink)

Peter Kivy is the author of many books on the history of art and, in particular, the aesthetics of music. This collection of essays spans a period of some thirty years and focuses on a richly diverse set of issues: the biological origins of music, the role of music in the liberal education, the nature of the musical work and its performance, the aesthetics of opera, the emotions of music, and the very nature of music itself. Some of these subjects (...) are viewed as part of the history of ideas, others as current problems in the philosophy of art. A particular feature of the volume is that Kivy avoids the use of musical notation so that no technical knowledge at all is required to appreciate his work. The essays will prove enjoyable and insightful not just to professionals in the philosophy of art and musicologists, or to musicians themselves, but also to any motivated general reader with a deep interest in music. (shrink)

In the Critique of Pure Reason, Kant describes schematism as a (A141/B180–1). While most commentators treat this as Kant's metaphorical way of saying schematism is something too obscure to explain, I argue that we should follow up Kant's clue and treat schematism literally as Kunst. By letting our interpretation of schematism be guided by Kant's theoretically exact ways of using the term Kunst in the Critique of Judgment we gain valuable insight into the nature of schematism, as well as its (...) connection to Kant's concerns in the third Critique. (shrink)

This paper explores the mystical structure of education as Bildung in medieval theologian and Dominican friar Meister Eckhart’s work and the 2010 French film Of Gods and Men (Des Hommes et Des Dieux). I start this paper with a short introductory sketch of the Bildung tradition, in order to situate my discussion of Eckhart within the more well-known humanist tradition. Here, I claim that Bildung (as we understand it today through the classic Bildung philosophers) points back to its theological heritage (...) and horizon of meaning, when it is claimed as the general tekhnê (art, craft) of making oneself at home in the world with and through others. In my first step, I then explore the intellectual heritage of this mystical structure of Bildung. Drawing on a range of Meister Eckhart’s writings (esp. his German sermons), I elaborate three features pivotal to his concept of Bildung (as image-ing) of the imago Dei (image of God) in the human soul/action: (1) divine grace, (2) human cultivation and (3) the harmonisation of both in (what I shall call) ‘careful gestures'. In my concluding second step, I illustrate this mystical structure of Eckhartian Bildung—with a particular focus on the emergence of careful gestures—through the motion picture Des Hommes et Des Dieux. (shrink)

Plato's Sophist begins with an attempt to arrive by division at a definition of a Sophist. In the course of the attempt six different descriptions are discussed and the results summarized at 231 c-e. A seventh and final account may be said to occupy the whole of the rest of the dialogue, including the long digression on negative statements. The first five divisions characterize with a considerable amount of satire different types of sophist, or more probably different aspects of the (...) sophistic art. The sixth division is very different. To quote Cornford's words, ‘satire is dropped. The tone is serious and sympathetic, towards the close it becomes eloquent’. (shrink)

What is unique and essential about theatre? What separates it from other arts? Do we need 'theatre' in some fundamental way? The art of theatre, as Paul Woodruff says in this elegant and unique book, is as necessary-and as powerful-as language itself. Defining theatre broadly, including sporting events and social rituals, he treats traditional theatre as only one possibility in an art that-at its most powerful-can change lives and bring a divine presence to earth. The Necessity of Theater analyzes the (...) unique power of theatre by separating it into the twin arts of watching and being watched, practiced together in harmony by watchers and the watched. Whereas performers practice the art of being watched-making their actions worth watching, and paying attention to action, choice, plot, character, mimesis, and the sacredness of performance space-audiences practice the art of watching: paying close attention. A good audience is emotionally engaged as spectators; their engagement takes a form of empathy that can lead to a special kind of human wisdom. As Plato implied, theatre cannot teach us transcendent truths, but it can teach us about ourselves. Characteristically thoughtful, probing, and original, Paul Woodruff makes the case for theatre as a unique form of expression connected to our most human insticts. The Necessity of Theater should appeal to anyone seriously interested or involved in theatre or performance more broadly. (shrink)

This essay considers the relationship between the work of contemporary artist Torsten Lauschmann and themes in a growing area of research: philosophy of technology. Themes considered include relations between technology and contemporary urban dwelling, technology and the “everyday,” and Heidegger’s problematic but canonical understanding of technology not as a set of “mere means” but as a “way of revealing.” I argue that Lauschmann’s art renders these themes relevant for our increasingly technologically mediated forms of everyday experience by engaging in a (...) paradoxical practice of creating what McLuhan called “anti-environments.” Part One relates Lauschmann’s art to three concepts surfacing in McLuhan’s late work: “figure,” “ground,” and “anti-environment.” Part Two relates Lauschmann’s art to Merleau-Ponty’s critique of photography in terms of the ontology of dynamic movement. Part Three relates Lauschmann’s art to Heidegger, implying a form of “affective critique” that — by questioning the environmental conditions that constitute works of art — points beyond vexed aspects of Heidegger’s approach, such as its apparent pessimism and tendency to homogenize disparate technologies. The essay’s broader argument is that Lauschmann’s art, like the philosophical reflections to which it is related, is engaged in a practice of challenging settled common-sense notions regarding technologically mediated experience. (shrink)

This essay examines Foucault’s legacy in terms of its contribution to the field of somaesthetics. It demonstrates how Foucault’s work on embodiment, care of the self, pleasure, sexuality, and aesthetics of existence were inspirational to the founding of somaesthetics and can serve as exemplars of somaesthetic philosophy. However, the essay also explores the ways that current somaesthetic research departs from Foucault’s theories by critiquing their limitations with respect to several important issues. These issues include the varieties of pleasure, the multicultural (...) scope and diversity of ars erotica, the range of aesthetics and art, and the demand for truth and heroism in the art of living a beautiful life. (shrink)

Anyone who wants to understand the very considerable art which Apuleius displays in narrating the stories of the Metamorphoses must naturally first describe the various modes of narration which he employs. Such description can scarcely be photographic: it requires its own language of categories and concepts – a language which Apuleius might, or might not, have understood. A valuable modern addition to the vocabulary has been the concept of ‘Point of View’: this concept is used to categorize modes of narration (...) according to the relationship which they set up between reader, narrator and the narrated. The narrator may be more or less involved in the events he narrates; he may know everything about them, or very little; he may relate them as present or as past. The reader may be told much or little of what the narrator knows; he may be made to view the story from the point of view of the narrator, of one of the characters, or even, I suppose, ‘objectively’. This whole sort of categorization has been dear to many authors and critics of this century, but has only recently been taken up by critics of the ancient novels: Chariton, Xenophon, Achilles 1971 ; Petronius 1973 ; Apuleius 1972 , 1978. (shrink)

For many years, William Morris’s utopian novel, _News From Nowhere_, has been considered a socialist classic. In it, he describes a future society in which poverty and hardship have been overcome and where individuals are free to express their creativity. For many readers it has been an inspirational text but, at the same time, scholars have openly admitted that the society it describes is impractical. Indeed, in recent years, writers and politicians sympathetic to Morris’s socialism have tended to defend the (...) relevance of his political thought by passing over the details of his vision and translating his ideas to a set of familiar values or ideas: freedom, equality, fraternity, ecology, environmentalism. In this stimulating study, Ruth Kinna reviews the debates that have surrounded Morris’s work and suggests that the romanticism and utopianism of _News From Nowhere _have been treated wrongly as a weakness of his thought. By analyzing the impact that Morris’s understanding of art had on his political thought, she argues that his socialism was driven by a deeply romantic impulse and that this impulse underpinned his central contribution to socialist thought. In today’s political climate, the assumptions that Morris made about the revolution and his idea about the socialist economy and the role of women appear impractical and outdated. Nevertheless, this study suggests that there is a role for utopian thought in practical politics and that Morris’s image of the good society remains relevant today. (shrink)

What does it mean to live dangerously? This is not just a philosophical question or an ethical call to reflect upon our own individual recklessness. It is a deeply political issue, fundamental to the new doctrine of 'resilience' that is becoming a key term of art for governing planetary life in the 21st Century. No longer should we think in terms of evading the possibility of traumatic experiences. Catastrophic events, we are told, are not just inevitable but learning experiences from (...) which we have to grow and prosper, collectively and individually. Vulnerability to threat, injury and loss has to be accepted as a reality of human existence. In this original and compelling text, Brad Evans and Julian Reid explore the political and philosophical stakes of the resilience turn in security and governmental thinking. Resilience, they argue, is a neo-liberal deceit that works by disempowering endangered populations of autonomous agency. Its consequences represent a profound assault on the human subject whose meaning and sole purpose is reduced to survivability. Not only does this reveal the nihilistic qualities of a liberal project that is coming to terms with its political demise. All life now enters into lasting crises that are catastrophic unto the end. (shrink)

There is an increasing interest in publications about the sources of meaning in life; books about the art of living are immensely popular. This article discusses whether one of the ancient predecessors of current 'art of living' theories, the Stoa and more particularly Seneca, can be of interest to educators today. Seneca's explicit writings on education are relatively few, but in his letters to his friend Lucilius we find several ideas as to how educators can assist students to become wise (...) and virtuous adults. The main characteristic of the virtuous sage is his ability to maintain tranquillity of mind. While we disagree with the radicalism of Seneca's view on the extirpation of emotions, we have discovered insights that we believe can be a valuable source for educators and students in their reflections on the meaning of education for the business of life. (shrink)

An introduction to writing proofs, presented through compelling mathematical statements with interesting elementary proofs. This book offers an introduction to the art and craft of proof-writing. The author, a leading research mathematician, presents a series of engaging and compelling mathematical statements with interesting elementary proofs. These proofs capture a wide range of topics, including number theory, combinatorics, graph theory, the theory of games, geometry, infinity, order theory, and real analysis. The goal is to show students and aspiring mathematicians how to (...) write proofs with elegance and precision. (shrink)

This dissertation explores Plato's conception of the nature and value of wisdom and its relationship to the ethical virtues. It is argued that throughout what are referred to as Plato's early and middle dialogues, wisdom is identified with the political art and that, as such, those, dialogues consistently treat moral knowledge as a kind of craft knowledge. When this conception of wisdom is combined with the Socratic doctrine of the unity of the virtues, however, it raises serious problems for Socrates' (...) ethical theory. It is argued that the dilemma that results in the Euthydemus highlights these problems and that there is an important sense in which the Lysis, Gorgias, and Republic represent attempts to solve this dilemma. It is argued that in the early dialogues Plato focuses solely on the contributive value of virtue but that in these latter dialogues Plato changes his account of the nature and value of the ethical virtues. In these dialogues Plato articulates what I will call the "constitutive value" of virtue, where the value of the virtues is rooted the way in which they constitute the good order of the soul. Ultimately, this allows the ethical virtues to be put forth as the beneficial work that wisdom provides for us. A central goal of the dissertation, then, is to explain this new account of the value of the virtues and to explain the sense in which wisdom rules over or governs the other parts of the soul so as to make the soul good. In this way, the dissertation deals centrally with Plato's conception of value and his moral psychology. (shrink)

There is given a short review of the most important biographical information about Abū Ḥayyān al-Tawḥīdi (d. ca. 1023), an outstanding representative of the Adab literature. Amongst his creative heritage it is emphasized the importance of the «Epistle (on Penmanship)». The conclusion is made that Adab style served in the best way the author’s intention. He was the first one who succeeded to exhaustively summarize the primary (defining) stage of the Arabic script formation, to clearly formulate the technique for preparing (...) the qalam. The “Epistle” is written in a simple manner, though it is not devoid of traditional elegance and eclecticism. Anticipating further development of the multiple types of proportional script referring to the existent schools, al-Tawḥīdi formulates common additional principles (apart from proportions), that, according to him, would constitute their aesthetics in future. In the second part of the “Epistle” there are given classic sayings and teachings, that became commonplace, regarding this type of art. Al-Tawḥīdi goes beyond his contemporaries and authors of the inner tradition. He gives the full scope of then existing knowledge regarding the discourse object. These data can be divided into rubrics depending on the subject and genre. In many of them we can trace the author's desire to zealously protect the Arab cultural heritage. It is concluded that al-Tawḥīdi strived to take out and convey further the main information, rules and techniques from the previous era of styles formation, so that they would not be lost or significantly changed. The writing contains numerous terms related to the preparation of tools and the process of script itself, which may again become relevant in the modern science of calligraphy. (shrink)

This is a book about time--about one's own journey through it and, more important, about enlarging the pleasure one takes in that journey. It's about memory of the past, hope and fear for the future, and how they color, for better and for worse, one's experience of the present. Ultimately, it's a book about freedom--freedom from despair of the clock, of the aging body, of the seeming waste of one's daily routine, the freedom that comes with acceptance and appreciation of (...) the human dimensions of time and of the place of each passing moment on life's bounteous continuum. For Robert Grudin, living is an art, and cultivating a creative partnership with time is one of the keys to mastering it. In a series of wise, witty, and playful meditations, he suggests that happiness lies not in the effort to conquer time but rather in learning "to bend to its curve," in hearing its music and learning to dance to it. Grudin offers practical advice and mental exercises designed to help the reader use time more effectively, but this is no ordinary self-help book. It is instead a kind of wisdom literature, a guide to life, a feast for the mind and for the spirit. (shrink)

Instead of following the behaviorists and abandoning the concept of experience, Dewey wanted to reconstruct it. Dewey was an ardent Darwinist, so whatever experience is, it has to be an evolved, presumably adaptive power. “Experience” became for him one word for the multiplex relation between the evolved, adapted organism and its environment. Human environments include groups and social relations mediated by language. But “experience” is not centered there, or restricted to the use of language. Experience comprises our total interaction with (...) the environment. It is with this experience that knowledge begins and where its value is proved. (shrink)

The metrologist: on Marcel Duchamp's Three standard stoppages -- The object-subject: Marcel Broodthaers, merchant of the insincere -- A sense of umor: Jacques Vaché -- The ridiculous subject -- Counting for nothing: the nihilist -- Slippered negligence: the dandy -- The happy melancholic -- Conclusion: A hole in a thing it is not.

Dr. Seuss's imaginative, whimsical children's tales are in fact packed with insights on national security and military strategy. Theodor Geisel's anti-totalitarian and pro-democracy views coming out of his WWII experiences are embedded in his classic books illuminating military topics such as strategy, insurgency, deterrence, cyber war, and more.

Excerpt from The Esthetic Basis of Greek Art of the Fifth and Fourth Centuries B. C The bibliography of my subject is very nearly negligible. One debt (outside of Greek archaeology altogether) is, however, a heavy one; and I wish to acknowledge great obligation to the keen and serious dialectic which distinguishes Geoffrey Scott's of Humanism. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an (...) important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

To avoid preparing to wage battles against our opponents in future wars, we should proactively and continuously influence the narrative identity structures of our potential opponents by using Strategic Communications (StratCom). This book argues that nations and societies of tolerance and pluralism (the so-called wonderful societies) should utilize StratCom to seduce their enemies, opponents, and potential opponents not only to behave in more tolerant ways, but above all to internalize peace, tolerance, and pluralism as essential values and guiding mental institutions (...) of their identity structures. Winning Wars Before They Emerge will be of interest to students, lecturers and researchers of international relations and world politics, peace researchers, and information operations practitioners, as well as military personnel. War and the art of war are issue areas that have been widely dealt with in numerous books and widely taught in various universities and defense colleges/universities, but not from the perspective offered in this book. (shrink)

This paper’s core concern is Boris Groys’ theory of the total art of Stalinism, which is devoted to rewriting Soviet art history and reinterpreting Socialist Realism from the perspective of the equal rights between political and artistic Art Power. The aim of this article is to decode Groys and the total art of Stalinism, based on answering the following three questions: 1) why did Groys want to rewrite Soviet art history? 2) How did Groys re-narrate Soviet art history? 3) What (...) are the pros and cons of his reordering of the total art of Stalinism? Groys offers an effective paradigm that could rethink two theoretical genres: a) other Socialist Realisms inside or outside the Soviet bloc, during or after the Soviet era; b) the aesthetical rights of political artworks before, during and after the Cold War, and the historical debates about art, especially about art for art’s sake, or art for political propaganda. However, Groys’ total art of Stalinism and its core theory of the Socialist Realism frame hides some dangers of aestheticizing Stalin and Stalinism. (shrink)

This article explores whether artificial intelligence (AI) can engage in the practice of law as an art of good and justice. It examines the historical and philosophical foundations of law as the art of promoting societal harmony and resolving moral dilemmas. The research employs critical and philosophical analysis methods integrating insights from legal scholars, ethicists, technologists, and policymakers. The study identifies AI’s potential to streamline legal processes, enhance access to justice, and reduce bias in decision-making. However, it also highlights ethical (...) challenges such as transparency, accountability, and the impact on the legal workforce. The article emphasises the importance of striking a balance between technological innovation and human values, advocating for proactive regulation and interdisciplinary cooperation to ensure the ethical development and implementation of AI in law. The results of the study highlight the transformative potential of AI in revolutionising legal practice, emphasising its capacity to streamline processes, improve access to justice, and mitigate bias. However, ethical considerations such as transparency, accountability, and the preservation of human judgment are crucial to ensuring that AI integration in law upholds fundamental principles of justice and fairness. (shrink)

The Art of War application to education is about solving problems to improve student and school success. The Art of War describes the significance of a leader and his knowledge and prudent application of the strategies. At the core of theses strategies is the non-negotiable moral purpose of the leader to be reinforced by other fine qualities as wisdom, commitment, discipline, and courage.

This response to Richard Shusterman's Philosophy and the Art of Writing focuses on his concern that philosophy is, first and foremost, a way of life, illustrated in the West by the Socratic ideal of the philosopher and in the East by the example of the scholar-artist-gentleman. This paper examines the process of Buddhist meditation and the process of creating novels, supplementing the authors Shusterman carefully examines with examples from Black American literature, the author's own teacher John Gardner, and artistic colleagues (...) the author has known. The basic thrust of the response is that the skillful means used in writing can indeed be a form of self-creation, but it can also be a means of liberation from the self. (shrink)

An art of the everyday? Parting from Georges Perec and Vilhelm Hammershøi Contemporary continental philosophy seems to be deeply connected to art, whether it is poetry and literature, painting or music. This connection is built upon the primacy of a trial of the invisible, which is very often a trial of the event. The aim of this article is to establish an art of the everyday freed from this contemporary "eventism". We thus examine how the researches of Georges Perec in (...) literature and of Vilhelm Hammershøi in painting meditate on the strangeness of the everyday – its flatness, its silence – which are irreducible to this aesthetic trial as it can be conceptualized by the philosophy of the life of Deleuze-Guattari and by the humanism of Levinas. This research thus beckons towards an art of the common contesting the contemporary primacy of the vital and the human. (shrink)