The aim of this article is to analyze La Mandragola di Niccolò Machiavelli and in particular the character of Lucretia, the female protagonist of the play. We will try to demonstrate that Machiavelli’s Mandragola exceeds the literary record and contains its own theoretical-political potential. For this purpose, we will first restore the textual mentions of Lucretia and analyze what Machiavelli says about her. Secondly, we will briefly focus on the Roman legend of Lucretia, as it appears in Tito (...) Livio’s account in order to illuminate the uniqueness of the Machiavellian Lucretia. Finally, we will outline the conclusions. (shrink)

Niccolõ Machiavelli é universalmente conhecido por sua obra política. Opresente artigo serve-se de uma obra literária, mais precisamente da peça teatral La Mandragola, para desvelar o mundo ético-político do autor. Através da análise deste trabalho, procuramos mostrar que, de certo modo, o universo valorativo da obra de Machiavelli é captado de modo mais preciso na expressão cômico-satírica do que na sua reflexão política propriamente dita, pois enquanto nesta última a visão dos homens permanece como um dado de fundo, na (...) comédia ela é matéria de representação direta. (shrink)

This paper engages the debate within the ‘democratic turn’ in Machiavelli scholarship, where an ‘institutional’ approach has celebrated Machiavelli's theorisation of the institutions under which the people can rule while a ‘no-rule’ approach has traced Machiavelli's attention to the popular capacity to subvert all relations of rule. What do we make of Machiavelli's concurrent reception as a champion of popular rule and an antagonist to all rule? I argue that both institutionalising and subversive impulses appear simultaneously in Machiavelli's works, though (...) in a dynamic for which neither of the democratic approaches adequately accounts – namely, a rhetorical dimension of Machiavelli's works wherein political knowledge unfolds from a continuous multiplicity of perspectives and the ensuing implication that perspective is crafted and shaped through political action. Perspectival readings of Machiavelli's accounts of the Capuan debate and the Ciompi rebellion thus reveal that both democratic approaches have neglected to question certain ‘princely’ orientations toward political action inherited in their conceptualisations of Machiavellian democracy. In contrast, I suggest that Machiavelli's comedy La Mandragola offers an opportunity to reframe perspective as a uniquely democratic phenomenon. Reading the comedy alongside the democratic turn, I argue that it enacts, satirises and even casts doubts on Machiavelli's princely lessons, in turn proposing a popular capacity to cultivate perspective in a newly organised public space. (shrink)

Machiavelli is popularly known as a teacher of tyrants, a key proponent of the unscrupulous “Machiavellian” politics laid down in his landmark political treatise The Prince. Others cite the Discourses on Livy to argue that Machiavelli is actually a passionate advocate of republican politics who saw the need for occasional harsh measures to maintain political order. Which best characterizes the teachings of the prolific Italian philosopher? With Machiavelli’s Politics, Catherine H. Zuckert turns this question on its head with a major (...) reinterpretation of Machiavelli’s prose works that reveals a surprisingly cohesive view of politics. Starting with Machiavelli’s two major political works, Zuckert persuasively shows that the moral revolution Machiavelli sets out in The Prince lays the foundation for the new form of democratic republic he proposes in the Discourses. Distrusting ambitious politicians to serve the public interest of their own accord, Machiavelli sought to persuade them in The Prince that the best way to achieve their own ambitions was to secure the desires and ambitions of their subjects and fellow citizens. In the Discourses, he then describes the types of laws and institutions that would balance the conflict between the two in a way that would secure the liberty of most, if not all. In the second half of her book, Zuckert places selected later works—La Mandragola, The Art of War, The Life of Castruccio Castracani, Clizia, and Florentine Histories—under scrutiny, showing how Machiavelli further developed certain aspects of his thought in these works. In The Art of War, for example, he explains more concretely how and to what extent the principles of organization he advanced in The Prince and the Discourses ought to be applied in modern circumstances. Because human beings act primarily on passions, Machiavelli attempts to show readers what those passions are and how they can be guided to have productive rather than destructive results. A stunning and ambitious analysis, Machiavelli’s Politics brilliantly shows how many conflicting perspectives do inform Machiavelli’s teachings, but that one needs to consider all of his works in order to understand how they cohere into a unified political view. This is a magisterial work that cannot be ignored if a comprehensive understanding of the philosopher is to be obtained. (shrink)

È possibile delineare due filoni interpretativi sul _Hayy b. Yaqzān_ (_Il vivente, figlio del desto_) di Ibn Tufayl: secondo l’uno, l’opera è uno sguardo realistico su un solitario in una società corrotta e si ispira agli insegnamenti della _Repubblica_ di Platone; secondo l’altro, l’opera ritrae un ideale puro e astratto di vita ascetica e insiste sull’imperativo morale dell’isolamento. Tuttavia entrambe queste interpretazioni precludono qualsiasi possibilità di felicità per l’uomo o per il filosofo all’interno di una società. In altre parole, tendono (...) a interpretare _Hayy b. Yaqzān_ come un tentativo di dimostrare che l’uomo non sia sociale o politico. La perfezione intellettuale e spirituale ricercata attraverso l’isolamento non può, a mio parere, essere separata da uno scopo pratico. L’isolamento del filosofo non viene praticato per distinguersi dalle società imperfette. Al contrario, tale isolamento è intrapreso per condurlo ad una realizzazione più alta e propriamente pratica. Su questa base, sostengo nell’articolo che l’uomo di Ibn Tufayl sia paragonabile allo ζῷον πολιτικόν aristotelico. Attraverso un confronto tra il _Hayy_ di Ibn Tufayl e lo ζῷον πολιτικόν di Aristotele vedremo come Ibn Tufayl si serva dell’_animale sociale/politico_ arabo (_hayawān insī _o _madanī_) di al-Fārābī e lo trasponga dal dominio della città a quello dell’individuo. Analizzando alcuni passaggi chiave, è possibile chiarire come il concetto di ζῷον πολιτικόν sia entrato nella filosofia araba e in particolare nella concezione di uomo di Ibn Tufayl attraverso il virtuoso di al-Fārābī e il solitario di Ibn Bājja. Prevailing academic views on Ibn Tufayl’s _Hayy b. Yaqzān_ (_Living, the Son of Wakeful_) fall into two camps: either the work is a realistic look at an isolated human being amidst a morally bankrupt population and harks back to the teachings of Plato’s _Republic_, or it portrays a pure and abstract ideal of the spiritual life in the footsteps of the natural first man, and insists on the moral imperative of isolation. The difficulty with both interpretations is that they preclude any possibility of happiness for the human person or the philosopher living in a society. In other words, they tend to interpret _Hayy b. Yaqzān_ as an attempt to demonstrate that the human is not essentially social or political. However, the intellectual and spiritual perfection sought through isolation cannot, in my opinion, be separated from a practical purpose. The isolation of the philosopher is not undergone to distinguish himself from imperfect human societies. On the contrary, such isolation is undertaken in order to lead one to a higher, and properly practical accomplishment. On this basis, I argue in this paper that Ibn Tufayl’s man is comparable to the Aristotelian ζῷον πολιτικόν. Through a comparison of Ibn Tufayl’s _Hayy_ and Aristotle’s ζῷον πολιτικόν we shall see how Ibn Tufayl reuses the Arabic _social/political animal_ (_hayawān insī_ or _madanī_) of al-Fārābī and transposes it from the domain of the city to that of the individual. By analysing some key passages, it becomes possible to illustrate how the concept of ζῷον πολιτικόν has entered Arabic philosophy, and particularly in Ibn Tufayl’s conception of man through the lenses of al-Fārābī’s virtuous and Ibn Bājja’s solitary man. (shrink)

Despite the economic relevance and distinctiveness of family firms, little attention has been devoted to researching their nature and functioning. Traditionally, family firms have been associated both to positive and negative features in their relationships with the stakeholders. This can be linked to different orientations toward corporate social responsibility. Thus, this research aims to identify the approaches that Spanish family firms maintain about social responsibility, based on the model developed by Quazi and O' Brien Journal of Business Ethics 25, 33-51 (...) (2000). An empirical study carried out for 112 Spanish family firms gives support to our initial assumption about these organizations not being a homogeneous group in terms of their orientation towards corporate social responsibility. The differences in perceptions do not seem to be associated to biographical characteristics. These results lead to some relevant academic and practical implications that suggest interesting lines for future research. (shrink)

El objetivo de este artículo es definir qué son los estudios culturales, de género y literarios. Reflexionar acerca de la relación que hay entre ellos. Debatir cómo es posible el hecho de que puedan intersectarse éstos. E intentar explicar el funcionamiento teórico y metodológico de dichas interdisciplinas. Asimismo, este trabajo ofrece un panorama general con respecto a la situación actual de los estudios de género y los estudios literarios con esta perspectiva en México: ¿qué es lo que se está haciendo?, (...) ¿cómo?, ¿en dónde? (shrink)

Iris Marion Young's work spans phenomenology and political philosophy. Her best‐known work in feminist phenomenology “Throwing like a girl,” drawing on the work of Simone de Beauvoir and Maurice Merleau‐Ponty, established the importance of gendered forms of bodily comportment and motility and has inspired articles both criticizing and extending her view to other fields. She has also articulated the phenomenological experience of chosen pregnancy, homemaking, the need for private space, the experience of wearing clothes, and other significant situations. Young's more (...) political philosophy articulates the five faces of oppression: exploitation, marginalization, powerlessness, cultural imperialism and violence, and domination in order to develop an account of justice that overcomes both and respects group differences. Her book Inclusion and Democracy considers these questions on a more international scale and considers how oppressed groups can be included in political institutions. Finally, her posthumously published work on responsibility argues that we have global responsibilities for injustices that occur, although we might not have intended to harm others. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Comic RomanceBenjamin La FargeIOn the surface, it would seem that nothing could be more different from comedy than romance. Comedy deflates, romance inflates. Comedy is realistic, romance fantastical. Comedy reduces, romance elevates. Comedy is democratic, romance heroic. Yet there are underlying similarities. Both involve a conflict between destructive and restorative impulses. In both, appearances are typically mistaken for reality, and both end happily. Above all, both are governed by (...) a structure of illogical logic that generates laughter in one and fantasy in the other.The generic differences between comedy and romance are crucial to a proper understanding of their functions. Comedy celebrates the renewal of life, the relation of man to woman and of man to man, in a spirit of tolerant acceptance, while romance celebrates a narcissistic dream of the self. If the former is best enjoyed in a crowded theater, the latter is usually enjoyed in solitude. Romance is a fiction of wish fulfillment. Since wishful thinking is generally understood as childish, romance is often regarded as a poor cousin among literary genres, haughtily dismissed by highbrows who associate it with the infantile pleasures of their childhood reading and with lowbrow fiction in general. This is precisely why so many sophisticated readers are reluctant to grant science fiction and other forms of fantasy any enduring literary value. In their view the pleasures of such works can not be taken seriously.Yet those childhood pleasures have a lasting appeal that lingers in the mind of every adult. There must be few grown readers who do not harbor a special fondness for the first heroes and heroines they encountered in their favorite childhood stories. Many of those heroes possess [End Page 18] some magical power; and when they place that power in the service of justice, especially the justice of revenge, their appeal is irresistible. I have seen grown men, armed and dressed for battle, avidly reading Superman comics. What stirred them, as it stirred many educated men and women in their childhood, was the spectacle of an omnipotent hero fighting to overcome the wrongs of this world.Even if our sentimental memory of these heroic figures is nothing more than nostalgia for irrecoverable pleasures, their initial impact may be seen as having a formative influence on a child's expectations, as many commentators have thought. In either case, they are all descended from a venerable tradition of literary figures. Superman himself is a direct descendant of Sherlock Holmes, who comes from a long line of English heroes going back to Robin Hood and Merlin, each of whom is involved in righting some injustice. Ultimately, all of them are descended from Odysseus, who reclaimed his rightful kingdom, after an absence of twenty years, by murdering his wife's suitors.Romance, like comedy, is a conflict between destructive and restorative impulses, and these impulses are embodied in the characters that inhabit this dream fiction.1 Like comic characters, the characters of romance evoke in us the same responses of wish and fear, and like comedy itself romance builds toward a catharsis of those two emotions. To achieve that catharsis, romance requires our "willing suspension of disbelief" (as Coleridge put it so memorably), which we have no difficulty in granting, provided only that the story is skillfully told. What we want from romance is the fulfillment of the wishes it arouses; what we get from their fulfillment is the pleasure of story-for-the-sake-of-story. It is this pleasure, in fact, that constitutes the basic, generic purpose of romance.The difference between the two genres, however, can be seen in the kinds of wish and fear they evoke in us, for unlike comedy the feelings of wish and fear evoked by romance are uncomplicated by ambivalence. We may wish to experience the destructive impulse vicariously through the protagonist, but only in order to see him triumph in the end. We are so entirely sympathetic to his enterprise that we cannot possibly wish for his destruction. If he is destroyed, as in the case of Tristan, the hero of the eponymous medieval romance, we are forced to recognize that the love potion he drank with Isolde was his... (shrink)

In the Summa Theologia I, beginning at question 2, article 3, and in the Summa Contra Gentiles I, beginning at chapter 13, Aquinas provides five proofs for the existence of God. These proofs are intended to demonstrate that God exists and to provide the foundation for a larger program to demonstrate many other doctrines which are held by faith. However, the program which Aquinas sets up for himself in the two great Summae is trivial and unnecessary if the existence of (...) God is self-evident in such a way that God's existence needs no demonstration. So, as a preamble to the five ways, Aquinas argues that the existence of God is not self-evident in any way that would hinder his program of rational theology.In STI the argument occurs in question 2, article 1, and in CGI it occurs in chapters 10 and 11. Aquinas also argues the same point in Commentum in Primum Librum Sententiarum distinction 3, question 1, article 2, and in Quaestiones Disputate De Veritate question 10, article 12. (shrink)

Marjorie Glicksman Grene (1910–2009) wrote on existentialism as a philosophy with a specific focus on the work of Martin Heidegger and Jean-Paul Sartre. Her work played an important role in introducing continental philosophy to North American and British thought as she lived and worked on both sides of the Atlantic. While she gained her PhD from Radcliffe College, Harvard University, she also studied as an exchange student in Germany from 1931 to 1933, had a postdoctoral fellowship in Copenhagen in 1936, (...) lived and worked on farms in Illinois and Ireland, and taught at universities in the United Kingdom and the United States, including, for the longest period, at the University of California, Davis (1965–78). Her interpretations are based on a thorough knowledge of the history of philosophy and a wide range of philosophical areas, including European philosophy; Grene attended lectures by Heidegger and Karl Jaspers while on exchange in Europe. While her interest was first piqued by Heidegger’s thought, further research led her to investigate Jaspers’s willingness to combine existential philosophy with the life sciences. I split her often integrated discussions into a focus on five primary thinkers: Kierkegaard, Heidegger, Sartre, de Beauvoir, and Merleau-Ponty, with the most detailed analysis of Sartre as Grene engages with his work in the most depth. (shrink)

These two volumes consist of a critical edition and English translation of the two earliest known Armenian sets of scholia on the Heavenly Hierarchy of Dionysius the Areopagite. Composed in the monastic schools of Erznka in the late thirteenth century, these scholia provide significant insight into how the Heavenly Hierarchy in particular, and Armenian translations of Greek texts in general, were understood by Armenian scholars in the Middle Ages. This editio princeps of the scholia represents a rare critical edition of (...) a native Armenian composition from the medieval period. In addition to the text and translation, these volumes include a textual commentary as well as a critical collation and English translation of a number of scholia from the Armenian version of the Greek scholia on the Heavenly Hierarchy. (shrink)

Excerpt from L'Art de Sentir Et de Juger en Matière de Goût Nous 'zivons' employé trois especes de papier _à la réimpres'sion de ce livre; ce qui forme trois éditions. La premiere, de luxe et tirée àtrès petit nombre sur du papier Velin.' About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, (...) preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

Al vroeg in de achttiende eeuw omschreven Europese denkers het tijdvak waarin zij leefden als verlicht. Het besef onderdeel te zijn van een ontwikkelde, beschaafde en commerciële periode schiep een nieuwe verhouding tot het verleden. Veel geschiedschrijvers schreven een historisch verhaal van vooruitgang - van de klassieke oudheid via de barbaarse middeleeuwen naar het moderne Europese statensysteem - om deze verlichte eeuw te verklaren. Hoewel dit fungeerde als een gedeeld Europees verleden en gedeelde Europese identiteit, ontstonden er al gauw nationale (...) varianten. Eleá de la Porte onderzoekt de achttiende-eeuwse Nederlandse verlichte verhalen vanuit dit internationale perspectief. In de Republiek botste het verhaal van Europese vooruitgang op een gelijktijdig debat over nationaal verval en een sterke traditie van humanistische geschiedschrijving. Bovendien moesten Nederlandse schrijvers hun nationale identiteit heroverwegen. De Bataafse mythe, gedurende twee eeuwen de historische fundering van de nationale identiteit, werd steeds vaker beschouwd als 'barbaars.' Als reactie hierop construeerden tijdgenoten het concept van een zeventiende-eeuwse Gouden Eeuw." --Page 4 of cover. (shrink)

Immanuel Kant, in ‘What is Orientation in Thinking?’ focuses on reason as the touchstone for speculative thought. The question of how to orient ourselves in thinking is still pressing, particularly if one does not take reason as providing principles for judgment. Hannah Arendt and Michèle Le Dœuff focus on this problem of orientation from a practical point of view and build up a compelling picture of how we can orient our thought. Both take imagination to be central to good judgment, (...) in addition to critical rationality. The project of enriching our imaginary and improving our judgments is an essential one in both ethics and politics, since imagination can either enable creative changes in our thinking or be stymied by pernicious myths. Arendt’s writings offer an account of the significance of the imagination to reliable judgment and suggest ways to avoid the extremes of arrogance and diffidence. Furthermore, Le Dœuff argues in recent work that we should challenge a range of myths in the epistemic imaginary and chart a course that involves hope for the future. I consider how it is possible to enrich the imaginary to overcome damaging myths, on Le Dœuff’s account, by taking political questions, particularly feminist ones, as reference points and also by avoiding the opposites of lack of faith in one’s own judgement and over-confidence. (shrink)