This book does not demand continuous reading; but at whatever place one opens it, one will find matter for reflection. The most useful books are those of which readers themselves compose half; they extend the thoughts of which the germ is presented to them; they correct what seems defective to them, and they fortify by their reflections what seems to them weak. It is only really by enlightened people that this book can be read; the ordinary man is not made (...) for such knowledge; philosophy will never be his lot. Those who say that there are truths which must be hidden from the people, need not be alarmed; the people do not read; they work six days of the week, and on the seventh go to the inn. In a word, philosophical works are made only for philosophers, and every honest man must try to be a philosopher, without pluming himself on being one. This alphabet is extracted from the most estimable works which are not commonly within the reach of the many; and if the author does not always mention the sources of his information, as being well enough known to the learned, he must not be suspected of wishing to take the credit for other people's work, because he himself preserves anonymity。. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Provoking a ConversationDavid H. PorterLee T. Pearcy's The Grammar of Our Civility: Classical Education in America (Baylor University Press, Waco, Tex. 2005) is a book every classicist should read. Pearcy's focus is on the state of classics in our country today: where we are, how we got there, where we need to go. His book is wide-ranging, tightly argued, and carefully researched. Pearcy's assessment of the present state of (...) classics in America strikes me as overly bleak, but his analysis deserves our close attention. Chapters 1 and 2, which trace the history of classical studies in Europe and America since the Renaissance, are filled with valuable information and insights; chapter 3 dissects four interlinked arguments that, to Pearcy's thinking, explain the parlous state of classics today—and threaten its future survival; and chapter 4 offers thoughtful suggestions as to how classicists might respond to these challenges. I doubt that most readers will agree with all of Pearcy's analysis—I certainly do not—but I found his book consistently stimulating. He writes that his purpose is to provoke a conversation, not to solve a problem (118); it is a conversation that will benefit us all, and this book is a welcome and timely catalyst.Pearcy's starting point, and the theme to which he repeatedly returns, is what he identifies as an essential difference between classical studies in Europe (including Great Britain) and classical studies in America. To quote from Pearcy's account of Vittorino da Feltre, whom he sees as an architect of what we now call "liberal education," classical education was designed above all "to take those who would... rule and those who might be admitted to the governing class and to form their minds and souls in such a way that they would be the best rulers (8)... "Renaissance classical education... [was] designed to educate members of the governing class by exposing them to the best patterns of conduct, modes of thinking, and products of culture..." (9). In Europe this form of education made sense in that its presupposition of a governing class matched the social and political realities of the countries in question. In America, by contrast, the advent of democracy undermined the central assumptions of such education and threatened its relevance to our society: "The necessary openness of thought in a democracy has a consequence that is fatal to [End Page 595] the paradigm of classical liberal arts education. In a democratic society, the freedom and theoretical equality of all citizens make it necessary to avoid privileging any single set of beliefs or ideas" (23).Pearcy's hypothesis is thought-provoking, but it strikes me as overly neat. A quick glance at two individuals, one English, the other American, offers some corroboration and also raises some intriguing questions. Leonard Woolf majored in classics at St. Paul's School and Cambridge, and, though his origins were not "aristocratic," upon graduation he entered the ranks of the governing class as a civil servant in Ceylon. The progression matches Pearcy's model, and Woolf even comments on it in terms similar to those Pearcy uses: "The male members of the British aristocracy of intellect went automatically to the best public schools, to Oxford and Cambridge, and then into all the most powerful and respectable professions."1 By contrast, S. S. McClure, the American publisher, migrated from Ireland to the States at age nine as a virtual pauper, spent eight years putting himself through Knox College, and chose to major in classics for reasons similar to those Pearcy identifies as the basis for classical education: "During the years that he reads and studies Greek a boy gets certain standards that he uses all the rest of his life, long after he has forgotten grammar and vocabulary."2 Unlike Woolf, however, McClure found to his dismay that though he had graduated third in a class of thirty, his classical education did not open doors to a professional career: "I talked with other boys, and found that most of them had arranged for the immediate future. One classmate was going into his father's law office; another was going to enter his uncle's... (shrink)

[E.H. Gombrich wrote on May 13, 1975:] . . . I recently was invited to talk about "Art" at the Institution for Education of our University. There was a well-intentioned teacher there who put forward the view that we had no right whatever to influence the likes and dislikes of our pupils because every generation had a different outlook and we could not possibly tell what theirs would be. It is the same extreme relativism, which has invaded our art schools (...) and resulted in the doctrine that art could not possibly be taught because only what has been done already can be taught, and since art is creativity it is not possible to teach it. Q.E.D.—I recently asked my history finalists what "Quod erat demonstrandum" means and they did not know. . . . [Quentin Bell responded on May 15, 1975:] . . . Your teacher at the Institute, is he really a relativist? Isn't he a kind of religious zealot? I used to teach school children. With me there was a much better teacher . One day she came into the room where I had been teaching and found a series of the most surprising and beautiful water colours. "What are these?" said she. I explained that they were copies of Raphael made by eleven and twelve year old children. I would have gone on to explain how interested I was by their resemblance, not to Raphael but rather to Simone Martini, for they had all the shapes beautifully right but none of the internal drawing or the sentiment, but I was checked by her look of horror. "You've made them copy from Raphael?" she said. Her expression was exactly that of someone who had been casually informed that that I had committed a series of indecent assaults upon the brats. And in fact in subsequent conversation it appeared that this was very nearly what she did feel. For her, what she called "self expression" was as precious as virginity. E.H. Gombrich was director of the Warburg Institute and Professor of the History of the Classical Tradition at the University of London from 1959 to 1976. His books include The Story of Art, Art and Illusion, Meditations on a Hobby Horse, Norm and Form, Symbolic Images, The Heritage of Apelles, and In Search of Cultural History. He became a Fellow of the British Academy in 1960, a Commander of the British Empire in 1966, and was knighted in 1972. He is also a trustee of the British Museum and a foreign member of the American Academy of Arts and Sciences and of the American Philosophical Society. His contributions to Critical Inquiry include "Notes and Exchanges" ,"Standards of Truth: The Arrested Image and the Moving Eye" , and, with Quentin Bell, "Canons and Values in the Visual Arts: A Correspondence" . Quentin Bell is professor of the history and theory of art, Sussex University. He has written Virginia Woolf: A Biography, Of Human Finery, Ruskin, Victorian Artists and Bloomsbury. Other contributions to Critical Inquiry are "The Art Critic and the Art Historian" , "Notes and Exchanges" , and "Bloomsbury and 'the Vulgar Passions'". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hercules Cross-dressed, Hercules Undressed: Unmasking the Construction of the Propertian amator In Elegy 4.9Sara H. LindheimVain trifles as they seem, clothes have, as they say, more important offices than merely to keep us warm. They change our view of the world and the world’s view of us.—Virginia Woolf, OrlandoPropertius begins 4.9 with his version of the story of Hercules and Cacus that he adapts from Virgil’s recently published (...) Aeneid. 1 Once he has recovered his stolen cattle, slain the monstrous, thieving Cacus and founded the Forum Boarium, the Propertian Hercules feels an overwhelming thirst. He hears the laughter of women and follows the sound to a grove in which the worship of the Bona Dea is taking place. Arriving on the threshold of the sanctuary, he pleads for some water from the spring he hears inside the grove, citing his heroic deeds as credentials for admittance. When his request achieves no immediate results, however, he considers that perhaps the women hesitate to open their sanctuary to a strong hero. He then offers a second self-presentation, this time telling how he once dressed as a woman and served Omphale, queen of Lydia. When the high priestess denies him entrance, reminding him that men, by religious prescription, cannot look upon the rites, Hercules gains access to the grove violently, drinks the spring dry, and announces that the Ara Maxima which he establishes 2 will forever exclude women from worship.The poem purports to offer a myth of origins for the Ara Maxima. Indeed, in the opening elegy to his fourth and final poetic collection, the poet proclaims his desire to dispense with love and to concentrate [End Page 43] instead on aetiology. Subscribing to Callimachean poetics, he will now compose aetiological verse on Roman subjects. Yet a second voice threatens the unity of the poet’s declaration, suggesting a second and incompatible thematic focus. Even as Propertius proclaims his bold, new stance, Horos the astrologer interrupts, insisting on the poet’s inability to leave behind themes of erotic elegy. 3 The programmatic elegy never resolves the tensions between the two poles of the bipartite agenda, promising that warring interests will haunt the elegies in the fourth book.It comes as no surprise, therefore, that antithetical arguments surface in poem 4.9. I argue that the tension animating the poem emerges from its two competing discourses about gender identity. An exploration of the three stories about the hero in the poem—the opening account offered by the poet, as well as the two self-defining, yet contradictory, narratives that Hercules weaves, in which he presents himself first as a great masculine force and then as the cross-dressed servant of Omphale—suggests the ephemeral nature of “real” gender identity. Considering briefly a modern theoretical model of cross-dressing, I examine Propertius’ own manipulation of transvestism to categorize gender, on the one hand, as a fluid construction, a social performance. On the other hand—and here lies the poem’s tension—a second, antithetical argument also emerges from the poem, which insists on the possibility of assigning persons to a specific gender category based on firm, stable criteria. When the priestess reads Hercules as man, and when the hero ultimately differentiates himself from woman by establishing male-only worship at the Ara Maxima, gender becomes essential or biological. The question I want to pose is: why do these discourses stand side by side, and what kind of synthesis between them ultimately materializes? Finally, I suggest that this debate about gender reaches beyond poem 4.9. By constructing Hercules so that the hero comes to represent, on an exaggerated scale, the Propertian amator, who himself vacillates between “masculine” and “feminine” identities, Propertius invites the reader to see a similar tension in the poet’s first three books of elegies. Thus, towards the end of his poetic career, the poet issues a reconsideration [End Page 44] of the portrait of the lover/poet in light of the questions elegy 4.9 raises about gender identity.While some might consider that to seek out, within ancient texts, whether gender appears essential or constructed in nature reveals an... (shrink)

Study on the Qurʼānic teaching for ideal society.

Purpose of the study is to shed light on the role of psychophysiology in the creative process, namely, the style corrections connected with pathological changes in the artist’s organism, deviating from empirical-descriptive methods. Theoretical basis of the study implies the interpretation of the notions style and disease not in their narrow professional limitation but from the standpoint of expanding the parameters of these concepts to philosophical dimensions. Based on the principle of analogy, the research findings prove that non-mimetic creative process (...) manifests itself exclusively in connection with a human from a bodily viewpoint through anthropological mimesis, which can program the propensity to certain capabilities of the individual organism. C. G. Jung was the first who pointed to the productivity of this method in his work "Theoretical Reflections on the Nature of the Psyche". The creativity phenomenon reflects not only "pure" psychology and the intellectual and spiritual component but also its relation to the artist as a physical being. It, outside its belonging to and being conditioned by transcendent factors, includes a quantitative aspect related to the moment of intensity. The disease acts to some extent as a stimulator of the production/change of aesthetic enzyme. In this context, the dialectic method is also effective because the subject of study cannot be comprehensively argued using naturalistic approaches only and requires a semantic explanation too. The essence of it is the logic of contradictions. In this case, the antinomy of matter-spirit plays a conceptual role in the projection on the plane of word-formation. Originality of the research findings is in the expansion of the causal relationship range of the creative process, namely the inclusion of the factor of psycho-physiological pathology into the system artist-work. This factor performs important stylistic functions. Conclusions. In contrast to scientific studies, where 1) style is analyzed separately and 2) the figure of the artist, this study argues the need to correlate these issues, taking them beyond descriptiveness to avoid schematics and one-dimensionality. (shrink)

Study on Islamic religious life and Islamic ethics in view of various astonishing Islamic stories.

With B. M. Pap. 273 , which consists of a number of fragments from a papyrus book containing an unknown epic on the subject of Dionysus and his Indian expedition, is bound up a small fragment, evidently by a different hand. This I have recently identified as from the Phaenomena of Aratus; and I therefore publish it here. Apparently no papyrus fragment of this poem has yet been discovered; there is, however, at Berlin a portion of a commentary on Aratus, (...) which has been published by Maass in his Commentariorum in Aratum Reliquiae, Berlin, 1898, pp. 556–558. (shrink)

Anecdotes from early Islamic history; includes moral of these stories reflecting on Islamic religious life and Islamic ethics.

Critical study on with special reference to peripatetics, Avicenna, 980-1037.

Om Blandt andet kampen mod bahāʼī i Iran, og om fundamentalismens tankegange, som er bange for kvinder, hvis de ikke er det svage og det tredje køn i samfundet, derfor undertrykker de dem og begrænser deres rettigheder.

By considering the irreducible representations of the Lorentz group, an analysis of the different spin-2 waves is presented. In particular, the question of the helicity is discussed. It is concluded that, although from the point of view of representation theory there are no compelling reasons to choose between spin-2 waves with helicity σ=±1 or σ=±2, consistency arguments of the ensuing field theories favor waves with helicity σ=±1.

On Islamic philosophy in the light of Koran.

kn. 1. Filosofii︠a︡ starodavnʹoho svitu.