Gott ist schon seit Nietzsche tot? aber was ist mit dem Teufel? Woher kommt er, wie hat er seine bekannte Gestalt angenommen, und warum kann auch er nichts weiter als ein Produkt menschlicher Abstraktion sein? Erstmals in der Historie der Philosophie wird die Vermenschlichung des Teufels umfassend und interdisziplinär aufgeschlüsselt, um ihn als das zu entschleiern, was er ist: eine menschliche Kopfgeburt, die lediglich ein hässliches Abziehbild von uns selbst ist. Diese Erkenntnis mündet in den anthropologischen Adiabolismus, die anthropologische Teufelsverneinung: (...) Der Teufel ist nur die leere Hülle des ausgelagerten menschlich Bösen. Anhand vielfältiger Disziplinen wie Anthropologie, Theologie, Kunstgeschichte, Literatur und Volkskunde wird die riesige Anthropomorphismus-Matrix des Teufels religionsphilosophisch enthüllt. Von Feuerbachs wegweisender Religionskritik ausgehend weitet Matthias Christian Friedel den Blick auf Teufelsbilder der gesamten Religionsgeschichte und gelangt über die grossen Teufelscharaktere der Literatur bis zum Teufelsbild im wörtlichen Sinne: Den Abschluss seiner umfassenden Teufelsstudie bildet ein 57-seitiger Katalog, der mit vielen der bemerkenswertesten Teufelsabbildungen, von Blake und Doré bis Goethe, die Entstehungsgeschichte unserer heutigen Vorstellungswelt illustriert. (shrink)

To write a history “from antiquity to the present” of classical art or literature (or, worst of all, classicism) is the ultimate nightmare aspiration for a scholar whose colleagues are attentive methodologists. The product, when there is one (which I add because the aspiration can yield paralysis), is always in part an apologetic treatise on historical method. Professor Vout—of Christ's College, Cambridge—apologizes with the first word of her subtitle, A, which stresses that many differing histories may be as valid as (...) her own. The next two words, Life History, imply that her study is unauthorized, conjectural, a bit personal or informal, and reliant to an extent on unconfirmable stories. Her book, she tells readers, is of necessity an arrangement of “fragments” and “a mapping not of facts, but of ways in which Greek and Roman artifacts experience history.” She sets down, moreover, as a rule that “classical” is not “a self-standing category: it is always relational” (which historians of the novel have been telling us for many decades about “realism”).We might expect the result of Vout's axioms to be evenhanded diffidence when treating definitions of the classical, and indeed she entertains even the idea of Jeff Koons—maker of Balloon Venus (Orange) and Gazing Ball (Barberini Faun)—as a classical sculptor. There is, however, one approach that she dismisses out of hand: the obsession of classical humanism with authenticity and its renascence. She objects especially to research into the original conditions of objects and to the application of increasingly intrusive methods of restoring them. As she writes, “ ‘Real knowledge’ comes not from antiquities that have been ripped from their original context, cleaned and reconstituted for display in galleries and glass cabinets. ‘Real knowledge’ comes from antiquities that carry their dirt with them.”What Vout, as a critic of humanism, means by dirt is patina—the residue, interesting and sometimes beautiful in itself, of the use and misuse of objects. Dirt is a word that would occur to a humanist art historian when examining the patina of a Greek or Roman object. Vout's use of the word is a parodic expression of reverse snobbery. When studying changes, whether mistakes or enhancements, in a Greek or Roman document, a humanist literary historian would speak of corruption and edit the corrupt text by means of processes that humanist editors invented and perfected. Despite the humanists’ devotion to the recovery of classical learning, however, once a Renaissance edition of a manuscript was in print, the original, however rare, was often destroyed or lost. In effect, the work was reborn, better than new. Rebirth is not the same as preservation: though both are perhaps conservative (or better, in Ulysses's words, “rere regardant”), a renascence or a resurrection is cataclysmic.The humanist approach to the past can appear unlovable and is certainly arrogant, but it can also inspire awe and gratitude. The work of Michelangelo depended on it, and so (more to the point) did Martin Luther's. Vout's attitude toward dirt (patina, corruption, misprision, insertions, recontextualizations, bowdlerizations, misappropriations, translocations) resembles that of Catholic theologians to the depositum fidei. Restoring the original conditions of the Christian church involved methods of research learned from Renaissance humanists and the removal, often destructive, of the “deposit” or residue or patina that adhered to, distorted, discolored, and obscured the conditions of the “primitive church.” A Roman Catholic may well dislike the processes that Luther set in motion, but imagine a scholarly history of Christianity that mentioned Protestantism only to regret its existence.Still, Vout's reasoning, it seems to me, is more sophisticated in its defense of dirt and in its criticism of restoration than any offered against the Protestants’ reasoning during the Counter-Reformation. Consider, for instance, this inspiring passage: “When the curators at the Munich Glyptothek removed Thorwaldsen's restorations from the Aegina pediments, they did not so much take them back to a pristine state as out of the feedback loop, rendering them damaged goods. It was not a restriction of avenues or a change of direction that was being enacted here, but a refusal to speak the language, or rather an insistence that the only language worth speaking was an academic [humanist, restorationist] one.... In 2011, the Glyptothek marked the two hundredth year of the pediments’ discovery by putting new versions of Thorvaldsen's restored figures on display. They had relearned the lingo. For art to be ‘classical,’ it has to know its place in the discourse.” May lingo and feedback loop have successful careers in the lexicon of classical scholarship. “Far from producing a nostalgic narrative,” as Vout informs us, “the lessons learned from looking back ensure that we keep traveling.”. (shrink)

The subject of this article is the works of the Russian artists of the late XIX – early XX centuries in the context of problematic of symbolism and Art Nouveau, as well as the scientific foundation that has developed as yet in studying this topic. Research methodology is based on the conceptual synthesis of classical art history approaches towards the analysis of artistic material with the theoretical interdisciplinary methods of humanities, such as iconology and hermeneutics, as well as the (...) contextual-associative method developed by the author. The goal of this article consists in determination of the peculiarities of symbolism in Russia due to the transformation of the attitude towards the spiritual problematic of art of the turn of the XIX – XX centuries, which is relevant for the modern art history. The author is firs in the Russian art history to conduct a comprehensive analytical overview of the development stages of symbolism in the Russian visual art based on the years-long work with the archival materials, scientific publications, and works of the Art Nouveau authors stored in the museum funds, many of which after 1917 appeared to be on the periphery of attention of art historians due to ideological reasons. The revealed individual characteristics of symbolism as a holistic artistic phenomenon, created on the level of modern humanistic knowledge, determine the novelty of this work and can valuable in further study of symbolism and Art Nouveau. Broadening of representations on the Russian art of the late XIX – early XX centuries, allow returning the heritage of the symbolist artists into the context of art, which is of undeniable importance from the perspective of restoration of natural logic of the development of the history of art in Russia, making this publication valuable in various fields of study of art and culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: Classical Art: A Life History DAVID CAST This is a wonderful book, rich in its purposes, wide in its range and, thanks to the author’s home institution, Christ’s College, Cambridge, lavishly illustrated with images of objects, many familiar, some less so. And it is written with an elegance and clarity that belies the depths of scholarship in its history. The first letter of the subtitle suggests the tenor (...) of Vout’s account, that since every age has conjured up a different idea of the classical, what is here is yet one more such history, a modest if particular account of what was and is still there in the records made of the Greek and Roman past. The basic metaphor Vout uses to define the focus of this history is that of conversation, whether such conversing is seen to exist between the objects themselves or between the past and the present, between those objects that have outgrown their intended functions to become part of a canon that has dictated taste over the ages, as she puts it, shaping culture and culture’s questions. Thus conversation is here, plus also what Vout is not afraid, when necessary, to call the misappropriations and translocations of the Greek and Roman objects she takes note of. Yet another contribution she adds to the idea of the classical comes from what she calls, perhaps a little awkwardly, the long durée approach to its subjects, seen first when these objects were produced, then as they survived Christianity and the fall of Rome and Byzantium, the French Revolution, modernism and fascism, to live Caroline Vout, Classical Art: A Life History from Antiquity to the Present, Princeton University Press, 2018. xi + 376 pages; 80 color + 132 b/w illustrations. $39.50. ISBN 9780691177038; E-book ISBN9781400890279. arion 27.1 spring/summer 2019 on in galleries and auction rooms, making the heart soar and the blood boil, as Vout claims, even today. It is a complex story she has to tell, difficult yet valuable, and its method is nicely exemplified by the first example considered, the two statues, known as the Tyrannicides, dated to 477–476 BCE, and located now in the National Archaeological Museum in Naples, attributed on the museum caption to the sculptors Kritios and Nesiotes, and dated to 477–476 BCE. The details here are crucial for, on investigation, it is clear these are not the statues that were erected in the Athenian agora to honor the men, Harmodius and Aristogeiton, who, by tradition, had killed the tyrant’s brother Hipparchus. Yet even this second group, as she notes, had been a stand-in, since the first piece to honor these men, made by the sculptor Antenor, had been stolen by the Persians in the sack of Athens in 480–479 BCE. Nor is this group here the actual second group but rather a copy, made by an unknown copyist working under the Roman Empire. What we have here are what might be called pretenders—yet ones, despite doubts about their authenticity, that have long been taken to mark a particular moment in the formal history of Greek art, the advent of the so-called Severe style in Athens and the birth of the classical moment of sculpture. Any full account of these statues depends then on a rich history, plus a range of other events; the existence of ancient casts of the Tyrannicides during the Roman Empire, marking out such statues as art, rather than having still their first meaning; the prior history in the Renaissance of the acquisition of ancient sculpture as a sign of power; the sight of the figure of Aristogeiton, then in the Palazzo Farnese in Rome, by Johann Joachim Winckelmann; the building up of these statues from fragments of other statues; in 1859 the identification of these figures as the Tyrannicides; and finally a reading of classical texts, those of Pausanias, Pliny and Lucian, that spoke, even if in contradictory ways, of all the actors here, Antenor, Kritios and Aristogeiton. To which should be added the recent accounts of these pieces, provided by schol172 classical art: a life history ars of classical art like Brunilde Ridgway, R. T... (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 94 Heft: 1 Seiten: 5-56.

This article is first within the Russian and Western art history to examine the concept of visual poetics as a separate subject of research. Based on the analysis of iconographic and theoretical searches of the masters of symbolism, which found reflection within the boundaries of expressive means of visual art, the author comes concludes on the poetic principles of symbolist artists as the fundamental sources of the formation of the style of Art Nouveau – a new sculptural language of (...) the XIX – early XX centuries. Detail characteristic of the philosophical-aesthetic content that underlies optical forms of the visual symbolist image, in its scientific origins leans on the capabilities of the art comparative-formal analysis, as well as iconological method adapted to the period under review. The innovative conceptual approach towards studying the art of symbolism lies in the fact that poetry as the concept is depicted beyond the literary sphere, as a specific type of artistic worldview that influenced the development of the visual language of art in the era of Art Nouveau. At the same time, visual poetics is compared to the complex system of internal images, which shape in with the works of the master throughout the entire path of his self-expression, and are directly related to profoundness of the poetic principle of the soul, lyrical and metaphorical intuition of the artist. This approach allows us broadening the representation on the aesthetic benchmarks of the symbolist artists, as well as designating the new methodological coordinates in the field of studying the art of symbolism in both national and international contexts. (shrink)

The essay explores the special features of French Symbolist aesthetics, which consist of the conceptions of symbolization as correspondence between the spiritual and objective worlds, suggestion, artistic synthesis and synesthesia, beauty, the beautiful and the sublime. The author analyzes the main trends of Symbolist aesthetics in France – the Neoplatonic/Christian and the Solipsistic symbolism – and traces their influence on art. She shows that the attitude toward aesthetic philosophy inherent in French Symbolism turned out to be the (...) backbone for Euro-American culture in the twentieth and twenty-first centuries. (shrink)

The Minneapolis Institute of Arts holds the Upper Midwest's most significant permanent collection of fine photographs. Covering the entire history of the medium, from the mid-nineteenth century to the present day. This beautiful book opens with an 1845 salt print by the English inventor William Henry Fox Talbot and closes with a 2002 color portrait by Alec Soth from his series Sleeping by the Mississippi. In between, selected images represent the genres of documentary photography, photojournalism, and street photography. Included are (...) Dorothea Lange's "Migrant Mother" and Arthur Rothstein's "Dust Storm," as well as Edward Weston's "Pepper No. 30" and Ansel Adams's "Moonrise, Hernandez." Commemorating the collecting legacy of Carroll T. Hartwell, the founding curator of the museum's department of photographs, this book reveals Hartwell's critical eye for singular historical photographs and his belief in the influence and vitality of accomplished contemporary photographers. In an introductory essay, Christian A. Peterson recounts the history of the museum's photography collection and Hartwell's indelible imprint on the Minneapolis Institute of Arts. (shrink)

Like all previously published volumes of his lectures, the content of The Government of the Living defies brief summary. It shows us Foucault in 1980 mapping out a major new phase in his work in terms that complicate our existing understanding of his unfinished project. My review looks in turn at the two parts of the course: an unusually lengthy discussion of method and heuristics, followed by a tightly focused study of early Christian regimes of truth. I suggest that (...) the complex opening theoretical reflections in these lectures go well beyond mapping the course of the immediately following historical analysis. They need to be seen in coordination with other conceptual innovations introduced over the following years, putting a task that Foucault calls here a “history of the power of truth” on his agenda alongside, and in integral connection with the previously defined tasks of a history of governmentality and a history of the subject. A newly published discussion in Berkeley later in 1980 adds crucial context to these Paris lectures, spelling out the linkage of structures of subjectivation to governability and of penitential ascetics to pastoral power. Taken together, the later books and lectures can now be seen to establish a framework of what I suggest we can call “alethic” or “aletheological” analysis, analysing and mapping across the span of Western history the modes of engagement of life and truth, with a view to enabling a renewed analysis of the political present. (shrink)

The one clear insight which can be gleaned from the discussions of religious language by both theologians and philosophers is that its reference is to the transcendent. This is almost axiomatic in Philosophy of Religion nowadays, and we feel that the remarks of Milton's archangel to the first man are most appropriate when he insists that all the conceptions we have of God or of the spiritual world are but inadequate symbols. Though this view has a long history, it does (...) not seem to have been at all general in antiquity. It may be said to have begun with Plato and then to have continued through later generations in Neo-Platonism till it mingled with the Christian tradition. We can see how easily such traditions were fused when we look at the fusion of Platonism and Judaism in Philo of Alexandria. This is how he expounds the Exodus passage where Moses is allowed to see the back, but not the face, of God: Everything which is subsequent to God the virtuous man may apprehend: God alone is inapprehensible. That is to say, God is not apprehensible by direct frontal approach—for such approach would imply God's being disclosed such as He is: but He is apprehensible through the Powers which are consequent upon His being; for those Powers do not present His being, nature, essence but only His existence from the resultant effects. (shrink)

The essay discusses the claim and the attempt to theoretically grasp the entire artistic production of the present, the possibility of which is suggested by a philosophical concept of art in the singular. On the basis of Umberto Eco’s reconceptualization of the code of a language as a heuristic fiction, it analyzes various attempts of mapping and categorizing certain historic developments and fields in the arts and contemporary attempts of writing a global history of art and music, respectively. Finally, it (...) turns to theoretical projects that claim to be able to capture the heterogeneous field of contemporary art. Even though there is a fundamental difference between encyclopedic and clearly normative approaches, any totalization must be recognized as situated. In this sense, it is a speculative fiction that may be productive but is in danger of becoming ideologic if this situatedness is forgotten or obscured. (shrink)

hroughout medieval Christianity, religious works of art emerged to illustrate the teachings of the Bible for the largely illiterate population. What, then, is the significance of the psychoactive mushrooms hiding in plain sight in the artwork and icons of many European and Middle-Eastern churches? Does Christianity have a psychedelic history? -/- Providing stunning visual evidence from their anthropological journey throughout Europe and the Middle East, including visits to Roslyn Chapel and Chartres Cathedral, authors Julie and Jerry Brown document the role (...) of visionary plants in Christianity. They retrace the pioneering research of R. Gordon Wasson, the famous “sacred mushroom seeker,” on psychedelics in ancient Greece and India, and among the present-day reindeer herders of Siberia and the Mazatecs of Mexico. Challenging Wasson’s legacy, the authors reveal his secret relationship with the Vatican that led to Wasson’s refusal to pursue his hallucinogen theory into the hallowed halls of Christianity. -/- Examining the Bible and the Gnostic Gospels, the authors provide scriptural support to show that sacred mushrooms were the inspiration for Jesus’ revelation of the Kingdom of Heaven and that he was initiated into these mystical practices in Egypt during the Missing Years. They contend that the Trees of Knowledge and of Immortality in Eden were sacred mushrooms. -/- Uncovering the role played by visionary plants in the origins of Judeo-Christianity, the authors invite us to rethink what we know about the life of Jesus and to consider a controversial theory that challenges us to explore these sacred pathways to the divine. (shrink)

Philosophe majeur de notre epoque, Henri Maldiney a elabore une phenomenologie de l'existence centree sur l'Ouvert. Preconisant un - retour aux choses memes -, il refute radicalement la separation instauree entre sujet et objet, insistant sur l'experience de la rencontre comme signifiance insignifiable, transpossibilite et transpassibilite, recueil et deploiement. a partir notamment de Binswanger, Straus, Freud, Szondi, Heidegger et plus largement des textes classiques grecs, allemands, chinois, accordant une importance toute particuliere a l'art, il a contribue de maniere decisive a (...) une philosophie du sentir, du rythme et de l'avenement. Lors du colloque de Cerisy, qui a reuni chercheurs, praticiens et artistes, chacun s'est mis a l'epreuve de cette oeuvre magistrale. Les contributions rassemblees ici manifestent l'evolution et l'impact de cette pensee fondamentale pour le XXIe siecle.". (shrink)

Oxana Timofeeva's The History of Animals: A Philosophy is an original and ambitious treatment of the "animal question". While philosophers have always made distinctions between human beings and animals, Timofeeva imagines a world free of such walls and borders. Timofeeva shows the way towards the full acceptance of our animality; an acceptance which does not mean the return to our animal roots, or anything similar. The freedom generated by this acceptance operates through negativity; is an effect of the rejection of (...) the very core of metaphysical philosophy and Christian culture, traditionally opposed to our 'animal' nature and seemingly detached from it. (shrink)

Historical scholarship often relies on intermittent adjustments rather than radical innovation. Through a close reading of three different universal histories published between 1690 and 1760, this essay argues that the secularization of world history in the age of Enlightenment was an incomplete and often unintended process. Nonetheless, one of the most significant changes in this period was the centering of universal history in Europe, a process that accompanied the desacralization of the story of man. Once human progress was embraced as (...) a universal process, the story of the development of the arts and sciences gradually eclipsed the non-European cultures that had formerly played a central role in the Christian narrative of human history. (shrink)

The subject of the study is the role of stained glass in the visual semiosis of religious buildings in Crimea. The object of the study is the stained glass decor of the sacred architecture of the Crimea. The research uses the methods of cultural (hermeneutic and semiotic) and artistic (idiographic and structural) analysis of stained glass art in the sacred space of Crimean architecture, the method of analysis of previous studies, the method of synthesis in conclusions regarding the development of (...) stained glass in the Crimean cult architecture. In the study, the authors considered the following areas of the topic: the development of stained glass art of the Crimea in sacred architecture; the meaning of color and subject symbols in stained glass compositions of religious buildings of the Crimea. The main conclusions of the study are: 1. Stained glass art, more precisely, its subject component, is not authentic for the Crimea, it appears in the decor of residential and public buildings during the late XIX century, the beginning of the eclecticism of Art Nouveau and imitation of Gothic and Byzantine models. Colored glass in earlier periods decorated the windows of well-to-do houses of representatives of various Crimean ethnic groups, however, stained glass as a phenomenon was not characteristic of sacred structures. 2. Due to its geographical location, Crimea is a multicultural and multi-confessional territory, where various religious trends developed: ancient pantheism, Byzantine Orthodox Christianity, Catholicism and Protestantism with the colonization of Catherine's time, Islam, Ashkenazi and Sephardic Judaism. Stained glass windows in religious buildings of various faiths, in addition to decorative function, play a symbolic role, conveying through color, symbolism of abstract and object forms one or another sacred meaning. 3. A special contribution of the authors to the study of the topic is the cataloging, art history and cultural description of examples of stained glass art in the sacred architecture of the Crimea. The scientific novelty of the study is that the authors for the first time carry out an ontological analysis of stained glass art in the sacred visual semiosis of the Crimea and analyze its semiotic aspects. (shrink)

Written by a team of distinguished scholars, this is an authoritative and comprehensive history of Western philosophy from its earliest beginnings to the present day. Illustrated with over 150 color and black-and-white pictures, chosen to illuminate and complement the text, this lively and readable work is an ideal introduction to philosophy for anyone interested in the history of ideas. From Plato's Republic and St. Augustine's Confessions through Marx's Capital and Sartre's Being and Nothingness, the extraordinary philosophical dialogue between great Western (...) minds has flourished unabated through the ages. Dazzling in its genius and breadth, the long line of European and American intellectual discourse tells a remarkable story--a quest for truth and wisdom that continues to shape our most basic ideas about human nature and the world around us. That quest is brilliantly brought to life in The Oxford History of Western Philosophy. With spectacular illustrations--including sixteen pages of full-color plates--this splendidly written volume takes the reader on a magnificient chronological tour through the revolutions of thought that have forged the Western philosophical tradition from ancient times to the present. Throughout, the six contributors--an internationally renowned team of philosophers including Roger Scruton, Anthony Quinton, and Anthony Kenny--bring the astonishingly diverse, wide-ranging landscape of intellectual history into sharp focus, emphasizing how notions seen today as part of an inevitable march of ideas were in their own time often considered radical, if not revolutionary. Thus we are treated, for example, to lively accounts of how Plato's "theory of forms" and Aristotle's pioneering exercises in logic broke with the past to irrevocably alter the course of Western thought. The authors also reveal the relationships between landmark thinkers, and the ways they drew on their intellectual heritage. They show, for instance, how St. Augustine and Aquinas, though advancing the cause of Christian doctrine, picked up where their pagan Greek forebears had left off. We witness how, during the Renaissance, the profound empiricist ideas underlying Descarte's famous utterance--"I think, therefore I exist"--lived in a tense but complementary relationship with Locke's rationalist theories. Moving into the eighteenth and nineteenth centuries, the book explores how Hume greatly influenced Kant's conception of the "transcendental aesthetic," and how Hegel drew upon the lesser known (but groundbreaking) work of Fichte and Schelling. The authors bring the story up to our own time, vividly recounting the existential trend from Nietzsche ("God is dead") to Sartre, along with other increasingly fractious schools of thought. Along the way, we not only encounter the vast intellectual riches of the Western mind, but we also meet the personalities behind the great thoughts, from the saintly Hume (described by Adam Smith as having "come as near to perfection as anybody could") to the ill-mannered outcast Fichte. And the hundreds of maps and striking illustrations (including full-color reproductions of art ranging from medieval manuscripts to the works of Raphael, Ingres, and Magritte) form an integral part of the book, revealing the interweaving of art and ideas through the ages, as artists have striven to give visual immediacy to philosophical concepts. The Oxford History of Western Philosophy is the most authoritative single-volume account ever written for the general reader. Engagingly written and astonishingly far-reaching, it provides the consummate introduction to the intellectual bedrock upon which Western civilization is built. (shrink)

Cassirer proclaimed the human as ‘animal symbolicum’. Language, art and religion are manifestations of an symbolic and symbol-creating awareness. The symbols are caused by a movement which is to be characterized as tropical. A symbol can be generated as a metonymic term, based on the principle of contiguity, but also as an metaphoric term, corresponding to the principle of similarity. The perception of these tropical movements draws the attention to the origination of a symbolic term as well as to the (...) changes of already existing terms. The history of the ancient symbolic speech is a history of permanent creations, but also of mutations of meaning. This history is noticeable in Greece for the first time in Homer. His figurative speech is influenced by the mythical contiguity, which yields to a metaphorization and allegorization of the symbols in lyrics and philosophy in the following period, but still remains present in the religious literature. Finally, the symbolic speech of the new Christianity is situated in the non-solvable tension between the principles of contiguity and similarity. A recognition of this history of the ancient symbolic speech is required for its subsequent analysis, which is especially important for Christianity, for whom the ancient symbolism is normative, as well as for the philosophy, which desires to recognize its own history. (shrink)

While different groups of viewers may have sought different values in Cézanne's art, the artist's manner of painting and personality both contributed to the ambiguity of his work. Until the last decade of his life he seldom exhibited, and even then his paintings seemed unfinished. He was generally regarded as an "incomplete" artist and often as a "primitive," one whose art was in some way simple or rudimentary, devoid of the refinements and complexities of his materialistic, industrialized society.1 He was (...) seen as an isolated man who lived apart from other painters and found human relationship and communication difficult. Yet for some symbolists it was this alienation and mystery which made Cézanne's art so attractive. As early as 1891, Fénéon found it appropriate to refer to "the Cézanne tradition," a designation which indicates the influence of the legendary account of the artist promulgated by Gauguin and his associates.2 Gauguin had painted landscapes with the reclusive artist during the summer of 1881, was impressed by his odd style, both personal and pictorial, and in a letter to Emile Schuffenecker of 14 January 1885 described Cézanne as embodying the mysticism of the Orient.3 Such a characterization held special meaning for those like Gauguin who had come more and more to search for an ultimate truth in the experience of the mystical, the transcendental, the intensely real. For the symbolist painter or writer, primitives lived in harmony with the real world; they had an intuitive, mythic understanding of their environment. Most modern Europeans, in contrast, viewed the world through false and short-sighted analytic reason and thus saw only immediate causes and effects, not eternal universal principles. They were Christians who could not see the truth of Buddhism; they were socially indoctrinated Parisians who could not see the purer structure of human society in provincial Brittany; they were refined painters of nature who could not see the expressive power of a flat area of color surrounded by a broad outline. For Gauguin and the symbolists, Cézanne, living in isolation in his seemingly unsophisticated native Provence, qualified as an enlightened contemporary, an inspiring force, a primitive artist. · 1. For Cézanne as "incomplete," see, e.g. Thadée Natanson, "Paul Cézanne." Revue blanche 9 , p. 496; and Gustave Geoffrey, "Paul Cézanne" , in La Vie artistique , p. 218. For Cézanne as "primitive," see, e.g., Georges Lecomte, L'Arte impressionniste , pp. 30-31; and Maurice Denis, "Cézanne" , in Théories, 1890-1910: Du symbolisme et de Gauguin vers un nouvel ordre classique, 2d ed. , p. 246. The late nineteenth-century notion of the "primitive" artist was very broad. Included in the category of primitives were artists of the ancient Orient, artists of the earlier stages of development of various Western styles , provincial or uneducated European artists, and those of contemporary non-European societies. With regard to the negative evaluation of modern Western European society, see, e.g., Victor de Laprade, Le Sentiment de la nature chez les modernes, 2d ed. , pp. 483-88; and Albert Aurier, "Essai sur une nouvelle méthode de critique" , "Le Symbolisme en peinture: Paul Gauguin" , and "Les Isolés: Vincent van Gogh" , in Oeuvres posthumes , pp. 202, 216, 262-63.· 2. Félix Fénéon, "Paul Gauguin" , in Oeuvres plus que complètes, ed. Joan Halperin, 2 vols. , 1:192.· 3. Lettres de Gauguin à sa femme et à ses amis, ed. Maurice Malingue , p. 45. Félix Fénéon, André Mellerio, and Emile Bernard also associated Cézanne's style with mysticism. Richard Shiff is an associate professor of art at the University of North Carolina at Chapel Hill. He has written a related article, "The End of Impressionism: A Study of Theories of Artistic Expression". His contributions to Critical Inquiry are "Art and Life: A Metaphoric Relationship" and, with Carl Pletsch, "History and Innovation". (shrink)

Religions teach their adherents how to see and feel at the same time, so learning to see is not a disembodied process but one hammered out on the forge of human need, social relations, and material practice. Therefore, religions may be studied through the lens of salient visual themes. This book tells a history of Catholic and Protestant Christianity since the sixteenth century by selecting visual themes that have shaped the development of the religion throughout the modern era. Chapters examine (...) a variety of visual practices, including imagination, envisioning nationhood, the likeness of Jesus, modern art as a spiritual quest, the material life of words, and the importance of images for education, devotion, worship, and domestic life."--Provided by publisher. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Reviews A History of Western Civilization. By Ralph M. Mclnerny and A. Robert Caponigri. Notre Dame, Indiana: University of Notre Dame Press, 1963-1971. 5 Vols. Vol. I. From the Beginnings of Philosophy to Plotinus. By Ralph M. McInerny. Pp. xvii+382. $10.00. Vol. II. Philosophy from St. Augustine to Ockham. By Ralph M. McInerny. Pp. xv.1.1.386. $12.00. Vol. HI. Philosophy from the Renaissance to the Romantic Age. By A. (...) Robert Caponigri. Pp. xii+582. $12.00. Vol. IV. Philosophy from the Romantic Age to the Age of Positivism. By A. Robert Caponigri. Pp. xv-t-327. $12.00. Vol. V. Philosophy from the Age of Positivism to the Age of Analysis. By A. Robert Caponigri. Pp. xv+363. $12.00. These five large volumes deserve special recognition for excellence of content, range of history, and usefulness of design. Though they are intended particularly for English-speaking students and though the references are largely to recent works in English accessible to students and teachers, the range of subject-matter is international and comprehensive (for the West) and the detailed treatment of philosophers and philosophical literature is amazing for scholarly, objective clarity and wealth of information. The authors state their general aim: Our basic reason for undertaking the authorship of this work is to promote the return of the history of philosophy to its rightful place of honor and usefulness in the academic program.... Philosophy cannot be pursued in an historical vacuum.... For this reason, in these volumes the chief architectural principle has been to place philosophy as firmly as possible in the cultural context, seeing it in this living relation to all interests of culture and the hfe of the spirit. Introduction, p. xiii. Such history is so evidently needed and so generally welcome that all will surely join in urging the publisher to make these volumes available in paperback for textbook use as soon as possible. About all we can attempt here is to call attention to a few features of this history that are usually neglected in less detailed, less comprehensive histories. Vol. I foUows the usual pattern of Ancient History. Plato and Aristotle dominate, as they must. Plato's Dialogues are analyzed in considerable detail and are arranged around "the crisis in Plato's thought" as a convenient way to separate the Socratic [1071 10S HISTORY OF PHILOSOPHY dialogues from the varied compositions that seem to get away from both Socrates and Plato. Aristotle is treated well but tersely in view of the encyclopedic range of his interests and ideas. His "first philosophy" is properly so called here instead of by the unfortunate name, "metaphysics." At the end of the volume there are a few pages on Neoplatonism after Plotinus, chiefly to indicate that it wandered from philosophy. Vol. II is especially noteworthy for its description of philosophy in a great variety of distracting environments. Augustine, for example, is presented here primarily as a philosopher, even in terms of his faith and theology. For example: At the same time I was preparing for baptism at Milan, I tried to write books on the arts (disciplinae).... I was able to finish only a work on grammar.... six volumes on music... I had only begun them at Milan. Of the other five arts begun in Africa... on dialectic, on rhetoric, on geometry, on arithmetic, on philosophy. Retractationes. The passage certainly assumes that there are seven such arts, but it is noteworthy that "philosophy" takes the place usually occupied by astronomy. It has been plausibly suggested that this is a quite conscious substitute by Augustine prompted by his abhorrence of what we would nowadays call astrology (pp. 13-14). In his concluding remarks on Augustine, Professor McInerny says: Augustine's influence on subsequent ages is due entirely to the force of his thought.... The influence he had on the thought of his own times is as nothing compared with the undiminishinginfluence he has had through the centuries, even to our own day (p. 47). Another comment by Professor McInerny is worth noting here: "Our lack of sympathy with the latter-day notion of Christian philosophy." If that phrase accurately described the philosophical contribution of... (shrink)

In the first book to argue for the benefits of boredom, Peter Toohey dispels the myth that it's simply a childish emotion or an existential malaise like Jean-Paul Sartre's nausea. He shows how boredom is, in fact, one of our most common and constructive emotions and is an essential part of the human experience. This informative and entertaining investigation of boredom—what it is and what it isn't, its uses and its dangers—spans more than 3,000 years of history and takes readers (...) through fascinating neurological and psychological theories of emotion, as well as recent scientific investigations, to illustrate its role in our lives. There are Australian aboriginals and bored Romans, Jeffrey Archer and caged cockatoos, Camus and the early Christians, Dürer and Degas. Toohey also explores the important role that boredom plays in popular and highbrow culture and how over the centuries it has proven to be a stimulus for art and literature. Toohey shows that boredom is a universal emotion experienced by humans throughout history and he explains its place, and value, in today's world. _Boredom: A Lively History _is vital reading for anyone interested in what goes on when supposedly nothing happens. (shrink)

This collection provides the first in-depth introduction to the theory of the religious imagination put forward by renowned philosopher Douglas Hedley, from his earliest essays to his principal writings. Featuring Hedley's inaugural lecture delivered at Cambridge University in 2018, the book sheds light on his robust concept of religious imagination as the chief power of the soul's knowledge of the Divine and reveals its importance in contemporary metaphysics, ethics and politics. Chapters trace the development of the religious imagination in (...) class='Hi'>Christian Platonism from Late Antiquity to British Romanticism, drawing on Origen, Henry More and Samuel Taylor Coleridge, before providing a survey of alternative contemporary versions of the concept as outlined by Karl Rahner, René Girard and William P. Alston, as well as within Indian philosophy. By bringing Christian Platonist thought into dialogue with contemporary philosophy and theology, the volume systematically reveals the relevance of Hedley's work to current debates in religious epistemology and metaphysics. It offers a comprehensive appraisal of the historical contribution of imagination to religious understanding and, as such, will be of great interest to philosophers, theologians and historians alike. (shrink)

The main subject of this research is the specificity of I. E. Repin's perception of the dynamics of artistic-aesthetic tasks formed under the influence of changing modernity. In view of this, one of the compositional centers of the research is the history of relationship that developed between I. E. Repin and the artists of the “first wave of symbolism” – members of the association “The World of Art”. Special attention is given to the question of perception of I. E. (...) Repin by certain representatives of the avant-garde in 1910s. Developing in the range “attraction – negation”, full of dramatic and comic moments, the dialogue between Repin and younger generation indicates the hastiness of univocal view of realism and Art Nouveau as opposing imagery systems. For the first time, on the current level of scientific comprehension of the aesthetics of symbolism and neo-romanticism, the article analyzes the attitude of I. E. Repin towards the innovative imagery pursuits of the Art Nouveau artists. At the same time, the very concept of Art Nouveau is interpreted in two dimensions: as a certain milestone in the context of the development of the history of art of the late XIX – early XX century; and as an inner dynamic potential embedded by I. E. Repin in his works since the beginning of his creative path. Based on systematization of the artistic and documentary sources and the method of complex reconstruction of the views of Peredvizhniki and symbolist artists upon the objectives and nature of art, the author concludes that the poetics of art of Ilya Repin, synthesizing the ideas of time, tends to reflect a complicated and distinctive artistic image formed by realistic and idealistic principles. (shrink)

First published in 1959, Our Experience of God examines the relationship between philosophy and religion. The author argues that, we cannot construct a religion for ourselves out of merely philosophical elements, and that the attempt to provide some philosophical or similar substitute for religion, as it normally presents itself, is misconceived. It brings themes like religion and belief; belief and mystery; religion and transcendence; history and dogma; material factors in religion; symbolism and tradition; art and religion; religion and morality; (...) and encounter and immediacy, to show that the place of philosophy in religion is not to provide proofs for beliefs but to make more explicit for us what is the nature and status of the beliefs we do hold and commend to others. This book will be of interest to scholars and researchers of religion, philosophy, and theology. (shrink)

This book explores the origins of western biopolitics in ancient Greek political thought. Ojakangas's argues that the conception of politics as the regulation of the quantity and quality of population in the name of the security and happiness of the state and its inhabitants is as old as the western political thought itself: the politico-philosophical categories of classical thought, particularly those of Plato and Aristotle, were already biopolitical categories. In their books on politics, Plato and Aristotle do not only deal (...) with all the central topics of biopolitics from the political point of view, but for them these topics are the very keystone of politics and the art of government. Yet although the Western understanding of politics was already biopolitical in classical Greece, the book does not argue that the history of biopolitics would constitute a continuum from antiquity to the twentieth century. Instead Ojakangas argues that the birth of Christianity entailed a crisis of the classical biopolitical rationality, as the majority of classical biopolitical themes concerning the government of men and populations faded away or were outright rejected. It was not until the renaissance of the classical culture and literature - including the translation of Plato's and Aristotles political works into Latin - that biopolitics became topical again in the West. The book will be of great interest to scholars and students in the field of social and political studies, social and political theory, moral and political philosophy, IR theory, intellectual history, classical studies. (shrink)

This book steers readers through these issues, providing a clear and decisive history of the main figures and texts in Christian ethics.

Hundreds of thousands of conferences have taken place since their first appearance in the late eighteenth century, yet the history of science has often treated them as stages for scientific practice, not as the play itself. Drawing on recent work in the history of science and of international relations, the introduction to this special issue suggests avenues for exploring the phenomenon of the international scientific conference, broadly construed, by highlighting the connected dimensions of communication, sociability and international relations. It lays (...) out a typology of scientific conferences as a way of gaining an overview of their diversity in the nineteenth and twentieth centuries. It argues that the international scientific conference is a central locus for understanding science as a social, cultural and political practice. (shrink)

The prediction defended in this paper is that over the next fifty years we will see a return of the ancient tradition of “universal history”; but this will be a new form of universal history that is global in its practice and scientific in its spirit and methods. Until the end of the nineteenth century, universal history of some kind seems to have been present in most historiographical traditions. Then it vanished as historians became disillusioned with the search for grand (...) historical narratives and began to focus instead on getting the details right through document-based research. Today, however, there are many signs of a return to universal history. This has been made possible, at least in part, by the detailed empirical research undertaken in the last century in many different fields, and also by the creation of new methods of absolute dating that do not rely on the presence of written documents. The last part of the paper explores some of the possible consequences for historical scholarship of a return to a new, scientific form of universal history. These may include a closer integration of historical scholarship with the more historically oriented of the sciences, including cosmology, geology, and biology. Finally, the paper raises the possibility that universal history may eventually be taught in high schools, where it will provide a powerful new way of integrating knowledge from the humanities and the sciences. (shrink)

From the early days of European settlement in North America, Christianity has had a profound impact on American law and culture. This volume profiles nineteen of America's most influential Christian jurists from the early colonial era to the present day. Anyone interested in American legal history and jurisprudence, the role Christianity has played throughout the nation's history, and the relationship between faith and law will enjoy this worthy and unique study. The jurists covered in this collection were pious men (...) and women, but that does not mean they agreed on how faith should inform law. From Roger Williams and John Cotton to Antonin Scalia and Mary Ann Glendon, America's great Christian jurists have brought their faith to bear on the practice of law in different ways and to different effects. (shrink)

Part 1. Lecture 1. What is big history? ; Lecture 2. Moving across multiple scales ; Lecture 3. Simplicity and complexity ; Lecture 4. Evidence and the nature of science ; Lecture 5. Threshold 1, Origins of Big Bang cosmology ; Lecture 6. How did everything begin? ; Lecture 7. Threshold 2, The first stars and galaxies ; Lecture 8. Threshold 3, Making chemical elements ; Lecture 9. Threshold 4, The earth and the solar system ; Lecture 10. The early (...) earth, a short history ; Lecture 11. Plate tectonics and the earth's geography ; Lecture 12. Threshold 5, Life -- Part 2. Lecture 13. Darwin and natural selection ; Lecture 14. The evidence for natural selection ; Lecture 15. The origins of life ; Lecture 16. Life on earth, single-celled organisms ; Lecture 17. Life on earth, multi-celled organisms ; Lecture 18. Hominines ; Lecture 19. Evidence on hominine evolution ; Lecture 20. Threshold 6, What makes humans different? ; Lecture 21. Homo sapiens, the first humans ; Lecture 22. Paleolithic lifeways ; Lecture 23. Change in the Paleolithic Era ; Lecture 24. Threshold 7, agriculture -- Part 3. Lecture 25. The origins of agriculture ; Lecture 26. The first agrarian societies ; Lecture 27. Power and its origins ; Lecture 28. Early power structures ; Lecture 29. From villages to cities ; Lecture 30. Sumer, the first agrarian civilization ; Lecture 31. Agrarian civilizations in other regions ; Lecture 32. The world that agrarian civilizations made ; Lecture 33. Long trends, expansion and state power ; Lecture 34. Long trends, rates of innovation ; Lecture 35. Long trends, disease and Malthusian cycles ; Lecture 36. Comparing the world zones -- Part 4. Lecture 37. The Americas in the later Agrarian Era ; Lecture 38. Threshold 8, the modern revolution ; Lecture 39. The Medieval Malthusian Cycle, 500-1350 ; Lecture 40. The Early Modern Cycle, 1350-1700 ; Lecture 41. Breakthrough, the Industrial Revolution ; Lecture 42. Spread of the Industrial Revolution to 1900 ; Lecture 43. The 20th century ; Lecture 44. The world that the modern revolution made ; Lecture 45. Human history and the biosphere ; Lecture 46. The next 100 years ; Lecture 47. The next millennium and the remote future ; Lecture 48. Big history, humans in the cosmos. (shrink)

English summary: Gilduin (1155) was, from 1113, the first abbot of the community of the Canons Regular of St Augustine, soon to become an abbey, under the auspices of St Victor of Marseille, on the left bank of the river Seine. After the death of his confrere Hugh, who was of German descent and the leading figure of the Victorines, on 11 February 1141, abbot Gilduin took care that the writings of Hugh were collected and compiled in a representative complete (...) edition. This 'Gilduin-edition' - as it is called in Medieval scholarship - comprises four volumes, the first of which is reconstructed herewith and presented in print. This volume follows the 2008 edition of Hugh's theological summa, De sacramentis christiane fidei. Then as now we are dealing with a critical albeit historical text. This new volume contains nine works, among which the first ever complete edition of Hugh's Cronica surely stands out. German description: Gilduin (+ 1155) war ab 1113 der erste Abt der einige Jahre zuvor gegrundeten und bald zur Abtei erhobenen Gemeinschaft von Augustinerchorherren unter dem Patronat des hl. Victor von Marseille, auf dem linken Ufer der Seine. Nach dem Tode seines Mitbruders Hugo, des aus Deutschland stammenden fuhrenden Kopfes der Viktoriner, am 11. Februar 1141 hat Abt Gilduin dafur gesorgt, daa die Schriften Hugos gesammelt und in einer reprasentativen Gesamtausgabe zusammengestellt werden. Diese in der internationalen mediavistischen Forschung so genannte,Gilduin-Ausgabe' der Werke Hugos von Saint-Victor umfaat vier Bande, deren erster hiermit rekonstruiert und im Druck vorgelegt wird. Dieser Band folgt somit auf unsere im Jahre 2008 besorgte Ausgabe der theologischen Summe Hugos, De sacramentis christiane fidei. Damals wie heute handelt es sich um einen kritischen, wenngleich historischen Text. Dieser neue Band umfaat neun Werke, unter denen insbesondere die uberhaupt erste vollstandige Ausgabe von Hugos Cronica hervorzuheben ist. (shrink)

In A History of Philosophy in the Twentieth Century , Christian Delacampagne reviews the discipline's divergent and dramatic course and shows that its greatest figures, even the most unworldly among them, were deeply affected by events of their time. From Ludwig Wittgenstein, whose famous Tractatus was actually composed in the trenches during World War I, to Edmund Husserl and Martin Heidegger -- one who found himself barred from public life with Hitler's coming to power, the other a member of (...) the Nazi party who later refused to repudiate German war crimes. From Bertrand Russell, whose lifelong pacifism led him to turn from logic and mathematics to social and moral questions, and Jean-Paul Sartre, who made philosophy an occasion for direct and personal political engagement, to Rudolf Carnap, a committed socialist, and Karl Popper, a resolute opponent of Communism. From the Vienna Circle and the Frankfurt School to the contemporary work of philosophers as variously minded as Jacques Derrida, Jürgen Habermas, and Hilary Putnam. The thinking of these philosophers, and scores of others, cannot be understood without being placed in the context of the times in which they lived. (shrink)

French legal culture, from the Middle Ages to the present day, has had an impressive influence on legal norms and institutions that have emerged in Europe and the Americas, as well as in Asian and African countries. This volume examines the lives of twenty-seven key legal thinkers in French history, with a focus on how their Christian faith and ideals were a factor in framing the evolution of French jurisprudence. Professors Olivier Descamps and Rafael Domingo bring together this diverse (...) group of distinguished legal scholars and historians to provide a unique comparative study of law and religion that will be of value to scholars, lawyers, and students. The collaboration among French and non-French scholars, and the diversity of international and methodological perspectives, gives this volume its own unique character and value to add to this fascinating series. (shrink)

Two essential periods may be identified in the early stages of the history of vitamin D-resistant rickets. The first was the period during which a very well known deficiency disease, rickets, acquired a scientific status: this required the development of unifying principles to confer upon the newly developing science of pathology a doctrine without which it would have been condemned to remain a collection of unrelated facts with very little practical application. One first such unifying principle was provided by the (...) notion of hygiene; while the blanket explanations provided by this notion alone were much too general to enable rickets to achieve scientific status, it did point out the need to look for specific external causes for the disease and to examine the life-style and dietary habits of the patients. The second phase of the conceptualization of the disease was the assumption of a specific cause — that is, using concepts developed in the area of infectious diseases. This was made possible by fundamental similarities between deficiency and infectious diseases, in spite of their apparent differences. Both types of illness have some of the characteristics of what Georges Canguilhem calls the ontological representation of disease as opposed to dysharmonic representations, which primarily concern the endocrine diseases. It is precisely this shift from one to the other manner of perceiving ill health that enabled the identification of the vitamin D-resistant rickets. Conceptualization of the notion of vitamin D resistancy required that the conditions causing the disease be looked for within the organism rather than outside it; this was thus the first time that endocrine concepts were applied to studying the physiology of vitamin D.The history of resistant rickets therefore represents an interesting model for understanding the growth of biomedical knowledge. It allows the development of a number of more general ideas on the question of the relationship between biology and medicine and on the thorny problem of specificity in medical thinking. As far as this topic is concerned it can be seen that there was an ongoing exchange between medical and biological thinking during the initial period up until 1937, and that one could deny any such specificity in medical thinking during this same period. Albright, for example, used human diseases as spontaneously produced models for experimental biology. It was also more feasible for an experimental biologist to administer toxic doses than for a clinician to do so.What, then, if any, is the place of the specificity of medical thinking in this history? The fact that medicine is characterized not only by it ccognitive content78 but also by its final aim, which is to restore health, makes it necessary to take factors other than objective knowledge into consideration. This is particularly evident in two aspects of medicine, therapeutics and nosology, and in approaching the notion of pathological individuality.Therapeutic activity has a largely empirical approach. Many drugs, such as cod-liver oil, were discovered empirically. Treatment often in the past, and still now, has proceeded by trial and error, upon no established theoretical basis. At this level the relationship between biology and medicine is roughly comparable to that between science and technology79 \3- that is, it is impossible to reduce either therapeutics or technical activities to the simple application of basic science. In this sense, the application of vitamin D to vitamin-resistant rickets is quite typical. Further-more, in the case studied here, the therapeutic activity heralds a definite breaking away from the medicatrix naturae of conventional medicine dating back to ancient times, and it embodies a new concept of the organism and of disease: no longer can the diseased organism be thought of as merely having a perturbed equilibrium requiring restoration by means of a natural style of medicine. On the contrary, vitamin D resistance is an obstacle that indicates profound biological dysfunction, to be rectified only by means of an extremely aggressive and therefore dangerous therapy. The therapy thus serves to reveal the severity of the dysfunction, thereby leading inevitably to conceptual innovation. This sheds light on the theoretical innovations of which the therapeutic activity is capable.Therapeutic activity is also influenced by notions of health and illness, normal and pathological states, none of which may be determined entirely objectively. For example, the term healing as used by Albright in the case of resistant rickets that he described may be discussed in this light.Nosology, or the classification of diseases, depends largely on the description of clinical syndromes, which are themselves mainly based on subjective elements (discomfort, disability, or the extent of a patient's suffering). The advent of pathological anatomy at the beginning of the nineteenth century disrupted classification by introducing the concept of localized anatomical lesions81-and, hence, an element of material objectivity \3- into nosology. Radiological examination further complicated matters by enabling the equivalent of an autopsy on living matter. Lastly, biological examination complicated nosology by showing that biological anomalies may exist in human beings without necessarily leading to a pathological condition. Medical thinking can choose to combine all these elements to describe a disease, but can also separate them and retain only a few, or a single one, according to requirements - as did Albright.The notion of biological and pathological individuality is fundamental to the development of medical thinking. Whatever its theoretical origin, medical thinking has since ancient times incorporated the idea that each individual reacts differently to the same treatment and his own specific pathological tendencies. I mentioned earlier that in the history of vitamin D-resistant rickets the notion of rachitic tendency reflected this type of thinking. After 1937, this history progressed by successively separating new individual entities, affecting smaller and smaller groups of individuals in each case. In other words, the need to understand and to define individual illness more closely required the development of new concepts and the construction of new individual categories of disease linking these concepts to older clinical, radiological, and biochemical elements. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd Reviews 89 MODERNIST HERESIES K.yE. Garay Arts & Science/Research Collections / McMaster U. Hamilton, on, Canada l8s 4m2 garay@mcmaster.ca Damon Franke. Modernist Heresies: British Literary History, 1883–1924. Columbus : Ohio State U. P., 2008. Pp. xx, 258. isbn 978-0-8142-1074-1 (hb). us$47.95. The editor of the Russell journal summed up Modernist Heresies: British Literary History, 1883–1924z with his usual brevity during a (...) recent conversation : “The Wrst part is about Russell and the rest of it isn’t.” In fact the Wrst two chapters are only somewhat concerned with Russell, since he Wgures as part of the Heretical Cambridge scene with which Damon Franke opens this study, but, September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd 90 Reviews after a Xeeting appearance of both Russells, Bertie and Dora, in the opening pages of Chapter 3, Bertie is not heard from again. Franke, who teaches English at the University of Southern Mississippi, has set himself an ambitious task, the scope of which is not fully captured in this book’s title. The selection of no fewer than ten subject headings in the cataloguing data for this studyz—zheadings ranging from “Modernism (Literature)” through “English Literature”, “Religion and Literature”, “Heresies, Christian”, and “Paganism in Literature”z—zprovides the wary reader withsome forewarning of its breadth. The author’s focus is on nothing less than the emergence and development of modernism in England, using the rise and demise of what Franke terms “heresy” as his barometer. Nor does the ascribed date range, 1883– 1924, prove much more accurate; in one of the most persuasive segments of the book, the After Words, Franke extends his examination, Wrst into the 1930s and then as far as 1949, the year that Orwell’s novel Nineteen Eighty-Fourz was published. Selecting as his starting point the 1883 blasphemy trial of G.yW. Foote, the editor of The Freethinker, at which the right to attack “even the fundamentals of religion” was enshrined in English law, providing that “the decencies of controversy” are observed (p. 10), Franke argues that this decision made possible “intellectual and literary forms of heresy which questioned the principles of religion ” (ibid.). His use of the term “heresy” for his wide ranging survey of philosophical and linguistic as well as literary opinion, provoked pause in this reader. The Oxford English Dictionary, the Wrst edition of which appeared the year after Foote’s heresy trial, provides a primary deWnition of heresy as follows: Theological or religious opinion or doctrine maintained in opposition, or held to be contrary, to the “catholic” or orthodox doctrine of the Christian Church, or, by extension, to that of any church, creed, or religious system, considered as orthodox. It is only through an extended deWnition of heresy that the door opens to allow Franke’s highly variable use of the term: “Opinion or doctrine in philosophy, politics, science, art, etc., at variance with those generally accepted as authoritative ” (OED Online, 2008). As will be demonstrated, aspects of thought which the less adventurous might prefer to call agnosticism, paganism or even atheism, are subsumed into the wide-ranging scope of this provocative study. The Cambridge Heretics, the group of which Russell was an Honorary Member, provides Franke with both his heretical cornerstone and his book’s opening chapters. In a skilfully contextualized examination, Franke documents the group’s Michaelmas 1909 genesis in the shadow, or perhaps in the intellectual light, of the Chawner ATairz—zthe Master of Emmanuel’s public expression of his personal loss of religious faith. Its Wrst chairman was C.yM. Picciotto, but it was its Wrst secretary, C.yK. Ogden, a newly arrived Magdalene College under- September 27, 2008 (1:09 pm) G:\WPData\TYPE2801\russell 28,1 048RED.wpd Reviews 91 graduate, who was to prove the group’s guiding genius. Franke argues convincingly that the group, which included Bernard Shaw, J.yM. Keynes, I.yA. Richards and G.yE. Moore, as well as Russell, in its membership roster, has suTered puzzling scholarly neglect, particularly when compared with the Apostles, its... (shrink)

This paper analyses the early history of David Bohm’s mechanics from the perspective of Ludwik Fleck’s thought-collectives and shows how the thought-style of the scientific community limits the possible modes of thinking and what new possibilities for the construction of a new theory arise if these limits are removed.