The seemingly innocuous description of Leah as having ‘soft’ eyes in Genesis 29:17 has captivated scholars and readers for centuries. This article advances an ironic interpretation, suggesting that Leah’s ‘soft’ eyes were not a sign of weakness but, rather, an indication of envy and malevolence, potentially contributing to fertility issues faced by her sister Rachel in terms of the ancient Near Eastern evil eye belief complex. In this context, the article delves into ancient belief systems that entwined beauty, fertility, (...) and the malevolent gaze.Contribution: Drawing from biblical texts, historical sources, and contemporary scholarship, this article reveals the intricate layers of meaning within this minor detail. (shrink)

Conspicuous in the Old Testament is the literary genre of blessing that is often construed in poetic forms. They are of various types and were significant to their initial audience. A careful analysis of their texts and contexts is indispensable for a correct understanding of their message. Conversely, in our times, these texts and their contents are misinterpreted for some subjective goals, which deviate greatly from what one can perceive as their original meaning and intention. Misinterpretation and incorrect application of (...) Biblical texts of blessings thrive in a society like ours where ills are perpetrated under the guise of religion. The text of Genesis 27:27–29, carefully inserted in the patriarchal narratives, contains a type of OT blessings portraying parents’ wishful desires for their offspring; this is common to all human cultures. It is chosen as a springboard for the study of other parental blessings in the OT. Employing a literary analysis with particular attention to the functions of poetic devices in the text, the study aimed at understanding the message contained therein and its relevance to our contemporary society. (shrink)

A Review of John Greco's book Acheiving Knowledge. The critical points I make involve three claims Greco makes that represent common ground between the reliabilists (including agent reliabilists like himself) and the character epistemologists (which would include myself): I. Such virtues are often needed to make our cognitive abilities reliable (to turn mere faculties into excellences); II. Such virtues might be essentially involved in goods other than knowledge; III. Such virtues might be valuable in themselves.

La péricope dite de l’enfant épileptique de Marc 9 aborde au moins trois questions fondamentales : 1. D’où viennent les maux ?2. Comment aborder ces maux et celui qui en est le porteur ?3. Y a-t-il un sens qui se profile derrière les maux ?Ces trois questions, dont la première est de nature étiologique ou mieux étio-archéologique, la seconde d’ordre éthique et la dernière eschatologique ont servi de grille de lecture et constituent le plan de la présente étude. The so-called (...) pericope of the epileptic boy in Mark 9 tackles at least three fundamental questions : 1. Where do diseases come from ?2. How to tackle these diseases and the one who is carrying them ?3. Do diseases have a hidden meaning ?These three questions, the first of which is of an etiological or rather etio-archaeological, the second one of an ethical, and the third one of an eschatological nature, make up the perspective and the outline of the present paper. (shrink)

This thesis inquiries into the Giacomo Leopardi's anthropologic and moral reflections, ruling as from the twenty Operette written in the 1824, along an itinerary that leads from the utopia, exemplified in the myth of the Californians, to the disenchantment, remarkable in some Operette and above all in the Scommessa di Prometeo. The origin of that negative anthropological conception in the Leopardi's philosophy happens through a process of lectures and thoughts that is reconstructed in the thesis, divided into three chapters. The (...) research work marks the limit a quo of the anthropologic utopia of the "happy" peoples in the fifty strophe of the Inno ai Patriarchi (July 1822), considered the last significant place of the "mith" of the Californians, and looks at the lectures of the first stay in Roma (17 november 1822 - 3 may 1823), to find out the constitutive elements of the negative anthropology exposed in the Operette. In the first chapter j examine the net of the lectures and the thoughts that flows into the Abbozzo dell'Inno ai Patriarchi and the fifty strophe of the Inno. The second chapter follows the complex way of the lecture of the Barthélemy's Voyage du jeune Anacharsis en Grece and of the Plutarco's Opuscoli morali - particularly of the Discorso di consolazione ad Apollonio -, in the context of the reflections on the human natural condition. The new leopardian vision of the ancient Greece, that recognizes the roots of the tragic Greek thought and consolidates a negative conception of the human condition, synthesized in the sentence "it's better not to be born". The third chapter dwells upon the interpretation of the Prometheus's myth produced by Leopardi, connected with the lecture of the myth present in the Luciano di Samosata's works. La Scommessa di Prometeo is submitted to a complete analysis, both in the direction of the fonts and on the plane of the statement of the contents, that reveals an original torsion of the Promethean tradition and develops in a dynamic of the full anthropologic disenchantment. (shrink)

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 that (...) reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

Not only does a shared expertise in classical philosophy and literature inform the works of Martha Nussbaum and Bernard Williams, each has also written and spoken on contemporary social and political issues. Given such ranges of reference, it is not surprising that their two recent books, Frontiers of Justice, a treatise, and In the Beginning Was the Deed, selected essays, confidently take up fundamental political questions. Yet these books differ in their intentions, organising structures, and discursive strategies, and they have (...) little overlap in topics. What then may be hoped from their juxtaposition? That their moral-political perspectives are strongly anti-utilitarian, somewhat anti-Kantian, and self-professedly liberal are unpromising commonplaces. Their juxtaposition can point, I think, toward an alternative to liberalism that is not anti-liberal. Williams considered himself a ‘critical liberal’. But among his contributions to ‘processes of extension’ of liberalism is enlargement of the category of moral agency to some groups in political contexts. And Nussbaum wants to ‘extend the Rawlsian approach’ to liberalism so as to remain a ‘type of political liberal’. But one of her most important conclusions is that it is ‘easy to extend’ justice as political entitlements to nonhumans. Williams 's move toward nonperson moral agents and Nussbaum's toward nonhuman moral patients do not merely ‘extend’ liberalism but, if taken together, leverage a departure beyond it into postliberalism. (shrink)