The early 21st century has witnessed a significant rise in extreme nationalism, racism, and xenophobia, deeply affecting the rights of minorities such as the Roma, who have historically faced systemic discrimination and racism. Given that many political leaders who downplay minority rights often engage in populist discourse, a debate has emerged about the relationship between populism and minority rights. While many scholars argue that populism inherently undermines liberal principles like the protection of minorities, the question remains whether populism is necessarily (...) anti-pluralist and anti-minority. What about the case of left-wing populism? Furthermore, why is the relationship between anti-populism and minorities often overlooked? In this article, we examine the relationship between populism, anti-populism, and minorities through the case of two different governmental discourses in crisis-ridden Greece. Specifically, we focus on the governmental political discourse and policies of the populist SYRIZA (2015-2019) and the anti-populist ND (2019-2023) on Roma, with the aim of showing that populism is not necessarily anti-pluralist, while anti-populism is not always pluralist, as both phenomena can follow inclusionary or exclusionary logics. (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

A significant proportion of conservationists' work is directed towards efforts to save disappearing species. This relies upon the belief that species extinction is undesirable. When justifications are offered for this belief, they very often rest upon the assumption that extinction brought about by humans is different in kind from other forms of extinction. This paper examines this assumption and reveals that there is indeed good reason to suppose current anthropogenic extinctions to be different in kind from extinctions brought about at (...) other times or by other factors. Having considered – and rejected – quantity and rate of extinction as useful distinguishing factors, four alternative arguments are offered, each identifying a way in which anthropogenic extinction is significantly different from other forms of extinction, even mass extinction: (1) Humans are a different kind of natural cause from other causes of extinction; (2) Extinctions brought about by humans are uniquely persistent; (3) Anthropogenic extinctions are effectively random whereas past mass extinctions are rule-bound; (4) The impact of the current anthropogenic extinction event differs from the impact of other extinction events of the past, such that future recovery may not follow past patterns. Together, these four arguments suggest that the present-day extinction event brought about by humans may be unprecedented and that we cannot clearly extrapolate from past to present recovery from extinctions. Although insufficient as justification for the claim that present-day extinctions are undesirable, the arguments provide some ammunition for conservationists' conviction that species extinction – in which humans play an accelerating role – ought to be prevented. (shrink)

The ‘error theory’ holds that all normative claims are false. Of course, if there is any reason to believe the error theory then, since it would be a reason to believe something, that would show the error theory itself to be false. A recent book (Streumer, 2017) tries to block this argument by arguing on the basis of the claim that the error theory itself can’t be believed that there can be no reason to believe it. This is a paradoxical (...) conclusion since it leaves the possibility that the error theory is true even though it is impossible to believe it and we can have no reason to believe it. In this paper I argue for a different paradox. Even if we can believe the error theory, we are committed to rejecting it, but this still leaves normative skepticism unanswered. (shrink)

The aim of this article is to offer what I consider to be necessary substantiati for the view that the description of the walk which acts as a frame for the singing contest in Id. 7 is based on a precise knowledge of the geography of t island of Cos and that the poem thus displays a topographical realism unique Greek pastoral.

Dieser Aufsatz betrifft Leibniz' Gedanken über Metaphysik in der Zeit von Dezember 1675 bis Dezember 1676, d. h. von den letzten Monaten seines Parisaufenthaltcs bis zum Beginn seines Aufenthaltes in Hannover. In dieser Zeit entwarf Leibniz Pläne für eine Abhandlung über Gott und die Welt und erwog die Möglichkeit, dieser Abhandlung eine deduktive Form zu geben. Der vorliegende Aufsatz entwickit und erläutert eine vermutete deduktive Version ¿ es metaphysischen Systems, die in den verstreuten Schriften dieser Periode entdeckt werden kann. Es (...) zeigt sieht, daß viel von Leibniz' reifer Philosophie bereits in diesem System enthalten ist. Jedoch findet sich kein Hinweis auf den dynamischen Charakter der Substanz und keine klare Formulierung der These, daß jeder Substanz ein vollständiger Begriff zukommt. Man findet vielleicht einige Andeutungen der späteren These, aber diese sind eher als Vorausdeutungen auf Leibniz' spätere Philosophie zu verstehen denn als konstitutive Teile des Systems von 1675/76. (shrink)

Hastings Center Report, Volume 52, Issue 3, Page 31-33, May–June 2022.

¡Cuán lejos estamos del clasicismo, y cuánto necesitamos de él! La necesidad de incorporar más estudios humanísticos es una necesidad que no puede sino sonar hoy terriblemente arcaica, inadaptada a los tiempos que –literalmente– corren, inútil a una democracia que ha perdido el rumbo y que trepida a la consolidación de lo técnico, donde la deliberación ha sido reemplazada por lo instintivo, por la irreflexión, por el espectáculo; en fin, si hay una consigna que hoy suena como una bella sinfonía (...) opacada por el ruido circundante, no es sino aquella que clama por la reivindicación del humanismo en nuestra educación como una condición ineludible de una democracia realmente deliberativa. Esto ya lo había atisbado nuestra poetisa, cuando señaló que las briznas apenas asomadas del humanismo fueron quemadas en varios países “y que lo científico entró con una presencia borrosa de fantasma, es decir, sin capacidad para suceder a la patrona arrojada de las aulas” (98). (shrink)

In the history of Russian philosophy, V. S. Solovyov is known as one of the prominent spokesmen of theological idealism. Lenin more than once pointed to the need to combat the ideas of this philosopher . He quite properly regarded them as the theoretical foundation of the ideology of "liberal renegacy.".

This volume presents new texts of Cicero's dialogues on political philosophy, De Re Publica and De Legibus, together with corrected versions of the editor's previously published editions of Cato Maior de Senectute and Laelius de Amicitia. The texts are based on a full reconsideration of the manuscript evidence and are presented in a clear and readable form.