Multiple accounts of how theories of human psychology and of image-making influenced each other in a decisive period in the history of philosophy and art.

In lieu of an abstract, here is a brief excerpt of the content:Ovid, Art, and Eros PAUL BAROLSKY OVIDIO, AMORI, miti e altre storie or Ovid: Loves, Myths, and Other Stories is the copiously illustrated catalogue to the monumental exhibition mounted in 2008–2009 at the Scuderie del Quirinale, in Rome, in celebration of the great Roman poet and his world. This handsome tome is many books in one: a beautiful album of color plates illustrating a wide range of fascinating (...) objects, an overview of Ovid’s life, works and influences—a book for amateurs and specialists alike, a book to delight and instruct. The book includes paintings and sculpture but also pottery, coins, and jewelry. There is something for everybody here. Ovidio is divided into relatively brief sections written by numerous scholars who treat such topics as Ovid and myth, Ovid the love poet, Ovid in exile, Ovid and Augustan Rome, Ovid and the figurative arts, and Ovid in the seventeenth century. The book’s attention to illustrated editions of Metamorphoses, and especially the Ovide moralisé, is notable and refreshing. I think it fair to say that the exhibition and its catalogue are, not surprisingly, dominated by Metamorphoses and the ways in which artists illustrated its stories over the centuries. The myths of Venus and Adonis, Narcissus and Echo, Icarus and Daedalus, and Jupiter and Europa are among the numerous Ovidian stories that get extensive treatment here. We need to recall that no ancient author in the Hellenic tradition is so copiously illustrated as is Ovid—a fact that is Ovidio, amori, miti e altre storie, ed Francesca Ghedini et al. Rome 2018, 310 pages; isbn 9788856906486; €33.15. arion 27.2 fall 2019 easily taken for granted. A consummate story teller, Ovid inspired the pictorial tales of Poussin, Rubens, Rembrandt, and Velázquez, among other masters. Often in this book, works of mythological art are seen in the context of Ovid, even when there is no specific association between image and text. Such is the case when, for example, we encounter the well-known Praxitelean Aphrodite pudica in the Uffizi which inspired Botticelli’s similar Aphrodite now in the Musei Reali of Turin. There is nothing that links the statue and the painting to Ovid other than the fact that their makers, like the poet, write about the goddess of love. Ever so many mythological works suggest the arousal of desire. The Praxitelean Aphrodite modestly covers her body with both of her hands. Understandably, since according to an ancient tale, a young man was so aroused by the statue that he left a stain upon her. In short, we are in the realm of erotic art. The Hellenistic statue of Leda and the Swan in the archeology museum of Venice is an excellent example of erotic art featured in this book, even though Leda is mentioned only in passing in Metamorphoses. She seems to swoon in rapture as the bird (Jupiter in avian guise) slithers between her legs, beak seeking lips. Scarcely resisting, Leda reaches ambiguously downward as if in search of something, and we can well imagine what that might be. That her lower hand is invisible contributes to its suggestiveness. Leda’s upper hand is pressed against the swan’s sinuous neck, by no means a gesture of resist170 ovid, art, and eros Figure 1: Leda and the Swan. Venice, Museo Archeologico Nazionale, 2018. Eric Vandeville / akg-images. ance, I believe, even though in the myth she is taken by force. What we see is what the Ovid catalogue calls a “voluptuous amplexus.” The story of Leda and the Swan is forever told by painters in various erotic ways. When, later in the Renaissance, Correggio pictures the momentous event he shows the swan mounting Leda who, in this case, receives the bird in a seated position. As the bird engages the nymph, feathers pressed against her inner thigh, the swan, as in the ancient statue, seeks out her mouth with his beak—a juxtaposition as phallic as it is oral. The Leonardesque smile of Leda betokens not fear or violence but pleasure—a decidedly carnal pleasure. In a different context, Vasari wrote that Correggio painted not colors but flesh. When Leonardo himself pictured Leda, he delicately rendered the... (shrink)

This article takes two events in the ongoing story of a predicted UK avian flu epidemic—“the dead parrot” (October 2005) and “the dying swan” (April 2006)—and examines the role and use of three interconnected metaphor scenarios (related to the notions of “journey,” “war,” and “house”) in the UK press coverage about avian influenza in 2005 and 2006. These represent fundamental descriptive and explanatory structures that derive from culturally or phenomenologically salient objects or experiences, and which allow journalists, scientists, and (...) policymakers to reduce the complexity of the threat posed by a disease and to promote risk-management strategies for the disease that appear to make instinctive or intuitive sense to experts and the public. Although similar metaphor scenarios may be used over time, the kinds of reporting they are associated with and the policy scenarios that result from these framings differ depending on the perceived proximity of the disease threat. (shrink)

New York Post Best Book of 2016 We often think of our capacity to experience the suffering of others as the ultimate source of goodness. Many of our wisest policy-makers, activists, scientists, and philosophers agree that the only problem with empathy is that we don’t have enough of it. Nothing could be farther from the truth, argues Yale researcher Paul Bloom. In AGAINST EMPATHY, Bloom reveals empathy to be one of the leading motivators of inequality and immorality in society. (...) Far from helping us to improve the lives of others, empathy is a capricious and irrational emotion that appeals to our narrow prejudices. It muddles our judgment and, ironically, often leads to cruelty. We are at our best when we are smart enough not to rely on it, but to draw instead upon a more distanced compassion. Basing his argument on groundbreaking scientific findings, Bloom makes the case that some of the worst decisions made by individuals and nations—who to give money to, when to go to war, how to respond to climate change, and who to imprison—are too often motivated by honest, yet misplaced, emotions. With precision and wit, he demonstrates how empathy distorts our judgment in every aspect of our lives, from philanthropy and charity to the justice system; from medical care and education to parenting and marriage. Without empathy, Bloom insists, our decisions would be clearer, fairer, and—yes—ultimately more moral. Brilliantly argued, urgent and humane, AGAINST EMPATHY shows us that, when it comes to both major policy decisions and the choices we make in our everyday lives, limiting our impulse toward empathy is often the most compassionate choice we can make. (shrink)

Virilio and Lotringer revisit their prescient book on the invisible war waged by technology against humanity since World War II. In June 2007, Paul Virilio and Sylvère Lotringer met in La Rochelle, France to reconsider the premises they developed twenty-five years before in their frighteningly prescient classic, Pure War. Pure War described the invisible war waged by technology against humanity, and the lack of any real distinction since World War II between war and peace. Speaking with Lotringer in 1982, (...) Virilio noted the “accidents” that inevitably arise with every technological development: from car crashes to nuclear spillage, to the extermination of space and the derealization of time wrought by instant communication. In this new and updated edition, Virilio and Lotringer consider how the omnipresent threat of the “accident”—both military and economic—has escalated. With the fall of the Soviet bloc, the balance of power between East and West based on nuclear deterrence has given way to a more diffuse multi-polar nuclear threat. Moreover, as the speed of communication has increased exponentially, “local” accidents—like the collapse of the Asian markets in the late 1980s—escalate, with the speed of contagion, into global events instantaneously. “Globalization,” Virilio argues, is the planet's ultimate accident.Paul Virilio was born in Paris in 1932 to an immigrant Italian family. Trained as an urban planner, he became the director of the École Speciale d'Architecture in the wake of the 1968 rebellion. He has published twenty-five books, including Pure War and The Accident of Art, both with Sylvère Lotringer and published by Semiotext. Sylvère Lotringer, general editor of Semiotext, lives in New York and Baja California. He is the author of Overexposed: Perverting Perversions, 2007) and other books. (shrink)

In Decision Space: Multidimensional Utility Analysis, first published in 2001, Paul Weirich increases the power and versatility of utility analysis and in the process advances decision theory. Combining traditional and novel methods of option evaluation into one systematic method of analysis, multidimensional utility analysis is a valuable tool. It provides formulations of important decision principles, such as the principle to maximize expected utility; enriches decision theory in solving recalcitrant decision problems; and provides in particular for the cases in which (...) an expert must make a decision for a group of people. The multiple dimensions of this analysis create a decision space broad enough to accommodate all factors affecting an option's utility. The book will be of interest to advanced students and professionals working in the subject of decision theory, as well as to economists and other social scientists. (shrink)

The aim of appraisal theory in the psychology of emotion is to identify the features of the emotion-eliciting situation that lead to the production of one emotion rather than another². A model of emotional appraisal takes the form of a set of dimensions against which potentially emotion-eliciting situations are assessed. The dimensions of the emotion hyperspace might include, for example, whether the eliciting situation fulfills or frustrates the subject’s goals or whether an actor in the eliciting situation has violated a (...) norm. Richard Lazarus’s well-known model of emotional appraisal has six dimensions, and the regions of the resulting hyperspace that correspond to particular emotions are summarized by Lazarus as the ‘core relational themes’ of those emotions. Anger, for examples, is elicited by the core relational theme ‘a demeaning offence against me and mine’, sadness by ‘having experienced an irrevocable loss’ and guilt by ‘having transgressed a moral imperative’ (Lazarus, 1991). (shrink)

One dimension of the controversy over whether evaluative properties are presented in perceptual content has general roots in the debate over whether perceptual content, in general, is rich or austere. I argue that we need to recognise a level of rich non-sensory perceptual content, drawing on experiences of chicken sexing and speech perception, to capture what our experience is like and our epistemic entitlements. In both cases (and many others), we are not conscious of the precise perceptual cues that are (...) the basis for discriminations and, thus, the characterisation of the phenomenal content of such experiences must go beyond sensory properties. Nevertheless, this point is arguably insufficient to establish the perception of evaluative properties. Their representation requires the subject to respond in certain ways. I discuss how this should go for the case of pain and then, in outline, for moral properties. (shrink)

Hegel makes claims about the relation of philosophy to religion that might raise concerns for those who want to locate his philosophy generally within the modern enlightenment tradition. For example, at the outset of his Lectures on Aesthetics he claims that philosophy “has no other object but God and so is essentially rational theology”.1 What might seem to placate worries here is that Hegel of course differentiates between the forms of religious and philosophical cognition in which such a content is (...) presented: while religion grasps this content in the form of imagistic or figurative representations [Vorstellungen], philosophy grasps it within conceptual thought, an attitude which might seem to align him with that found within the German enlightenment, for example, that found in Lessing and Kant. However, it seems undeniable that, in comparison to Kant, for example, Hegel employs forms of expression for the presentation of his own philosophical thought that are redolent with the type of imagistic and figurative locutions supposedly at home in religion. Moreover, the actual imagery employed seems to refer to the type of trinitarian version of Christianity that can seem antithetical to those forms of Christian thought that lent themselves to the sort of “demythologization” characteristic of the enlightenment attitude to religious doctrine. Such factors as these make it easy to portray Hegel’s philosophy as a type of irrationalist mysticism,2 or at least as a disguised theology with a content from revealed religion, and thus aligning him more to the spirit of the Counter-Enlightenment than the Enlightenment. (shrink)

The article uses the 2010 political success of the Tea Party phenomenon as a jumping-off point to examine a number of ideological tropes and rhetorical devices in American politics. It argues that the political language of the Tea Party is not – as is often assumed – empty moralizing at the expense of intellectual depth, but rather draws on a wide variety of American political and intellectual themes and traditions. The article uses the campaign literature and polemic of key Tea (...) Party affiliates – Sarah Palin, Christine O’Donnell, Glenn Beck, Ron Paul – as entry points to discuss the movement’s political strategies and interpretation of the role of government, individual liberty, American exceptionalism, constitutionalism, the free market, and the common people. In placing these discussions in their historical and intellectual context, the article argues for taking the Tea Party’s political message seriously, not least as a reflection of prevalent democratic concerns and frustrations with the American political system in its current incarnation. (shrink)

Examines the true purpose of writing history, explains how history can be understood in terms of plot, and discusses the progress of history.

Presents a survey of what Arabic philosophers, as commentators of Aristotle's _Physics_, have contributed to philosophy and science in the Middle Ages. Their influences on each other and the extent of the influences of previous Greek commentators on them, are also examined.

The Ethics of Agricultural Intensification: An Interdisciplinary and International Conversation Paul B. Thompson and John Otieno Ouko* Global agriculture faces a number of challenges as the world approaches the second decade of the third millennium. Predictions unilaterally indicate dramatic increases in world population between 2010 and 2030, and a trend in developing countries toward greater consumption of animal products could multiply the need for prod- tion of basic grains even further. Although global food production in 2000 was estimated to (...) be adequate for the existing population, hunger and malnutrition are persistent problems that have led decision makers to recognize that increasing food production in specific regions may be the most effective way to address food se- rity for impoverished peoples. At the same time, there will need to be policy adju- ments that improve poor people’s access to current food supplies without simultaneously undercutting the ability of local producers to obtain needed cash income. What is more, the uncertain effects of global climate change on agricultural ecosystems complicate planning for this process, while poorly understood processes of globa- zation create additional unknowns from the side of social systems. In short, despite surpluses in many parts of the developed world, finding ways to increase food p- duction on both selected regional and a total global basis remains a priority for many farmers, policy makers and agricultural researchers. (shrink)

ah¯ aras) are defined on the ´ Sivas¯ utras and other similarly organized lists by the convention that if xq is followed in the list by the marker Q, then xpQ denotes the set of elements xp, xp+1, ... xq. The phonological classes defined in this way are referred to in hundreds of rules in the As.t.¯adhy¯ay¯i.

Research Articles Paul A. Rahe, Social Philosophy and Policy, FirstView Article.

In lieu of an abstract, here is a brief excerpt of the content:Three Ovidian Tails PAUL BAROLSKY Kneeling at the edge of a pond in push-up position, a beautiful nude boy crowned with flowers gazes down at the water in which he beholds his reflection. In love, he is enthralled. Thus, the image of Narcissus rendered by the Florentine painter Alessandro Allori in a work that has been largely overlooked until recently. Datable to the second half of the sixteenth (...) century, it now hangs in the Turkish Embassy in Washington, DC. In the distant background of the picture we behold Echo, who extends an arm upward seemingly in a gesture of despair, since she is rejected by Narcissus. She stands before a mass of rock, her left leg beginning to turn to stone, the very stone into which she vanishes as only her voice remains when she echoes her beloved. The painting abounds in Alessandro Allori, Narcissus. Photograph © Patricia Rubin. arion 26.3 winter 2019 closely observed passages such as the little fish in the pond, one of which has captured a worm. There are other notable details such as the crab on a rock in the foreground, or the clusters of pendulous, ripe grapes, fruit of Bacchus, to whom androgynous Narcissus is likened in Ovid’s Metamorphoses. Allori also employs poetic simile in his picture, since the fingers of the youth’s left hand rhyme with the finger-like roots that emerge from the water. These roots are magnified in turn by their reflected image on the water’s surface. 136 three ovidian tails Abraham Janssens, Nymph and Pan Among the Reeds. AKG / Museen Böttcherstra ße. The apex of the picture, we might say, is baby Cupid who, hovering above, aims his dart at Narcissus and thus arouses the boy’s desire. The shape of Cupid’s bow echoes that of Narcissus ’s prominent buttocks which are framed by the attractive, bright golden drapery fluttering prominently around the youth’s posterior. One might well say that Allori features the buttocks of Narcissus’s body most provocatively in a kind of butt which recalls that of Cupid in the famous Venus, Cupid, Folly, and Time painted by the artist’s teacher, Bronzino. What Allori pictures is not exactly what Ovid writes. It is, however, how Allori imagines the Narcissus of Ovid’s tale. Allori is not alone among Ovidian artists in focusing on the backside of the human body. The posterior is especially prominent in another mythological picture, this one from the early seventeenth century, executed by a disciple of Rubens, Abraham Janssens. This work has found its way to Bremen, where it is now housed in the Ludwig Roselius Museum. It illustrates Pan’s pursuit of Syrinx, who is metamorphosed into reeds in a story told by Mercury in order to put Argus asleep. Ovid is Janssens’s point of departure. The artist depicts the moment when a muscular Pan with a ruddy, almost leathery face embraces Syrinx in her new form as a bunch of reeds. Janssens departs from Ovid with a most novel invention. He depicts a woman, seen from behind, who dominates the composition. With sharp contrasts of lights and darks, vestiges of Caravaggio, the painter emphasizes the female’s imposingly broad backside, which is framed by a billowing, bright, attention-grabbing red drapery that she seems to hold across the front of her body. Could it be that Janssens here alludes to the backside of Syrinx as Pan would have seen it when he chased her? It would seem that we are given not only a view of Pan embracing reeds, we are simultaneously given a Pan’s-eye view of Syrinx’s prominent and provocative backside before her metamorphosis. I wish to consider one final example of the derrière in Ovidian art, this one prominent in a picture painted well Paul Barolsky 137 over a hundred years after Janssens worked: Louis-JeanFran çois Lagrenée’s Abduction of Deianira by the Centaur Nessus, a work which is now in the Louvre. In Ovid’s story, Hercules arrives with his bride Deianira at the shore of the river Evenus where she is abducted by Nessus, who flees only to have Hercules shoot him with... (shrink)

Why, then, do we huddle in the dark around the campfires of our flickering narratives? There are obviously many different reasons for doing so. Yet, having heard various récits—whether "stories" or "accounts"—during the narrative conference, I am more inclined than ever to see self-assertive entertainment and self-transcending commitment as two kinds of ultimate motivation for our countless narratives. Stories and histories and other narrative or descriptive accounts help us to escape boredom and indifference—ours as well as that of other people. (...) Those nearly vacant states of mind at the zero degree of entertainment and commitment bring us frightfully close to the experience of nonexistence. Hence our desire to replace boredom by thrilling or gratifying entertainment and to replace indifference by the social or cosmic commitment either to change the world or to change ourselves. In a world of unmixed colors and pure literary genres, tragedy, comedy, satire, and romance might answer distinct needs for thrill, gratification, indignation, and admiration. But, as Roy Schafer and Victor Turner have reminded us, the private and social dramas underlying psychoanalytical and anthropological accounts are even less pure than most works of literature. Couldn't we conclude that life's internal and external dramas stem from a compound desire for self-assertion and self-transcendence—a desire which, in the realm of literary entertainment and commitment, motivates the emergence and appreciation of tragicomedy? Paul Hernadi teaches English and comparative literature at the University of Iowa. He is the author of Beyond Genre: New Directions in Literary Classification and the editor of What is Literature? and What is Criticism? His previous contribution to Critical Inquiry, "Literary Theory: A Compass for Critics," appeared in the Winter 1976 issue. (shrink)

"Ecological catastrophes are ony terrifying for civilians. For the military, they are but a simulation of chaos, an opportunity to justify an art of warfare which is the more autonomous as the political State dies out. At this point, all civilian populations are helpless victims of the scam, of this ransacking of the world's resources.".

Books reviewed in this article: The Anchor Bible Dictionary. Edited by David Noel Freedman with Gary A. Herion, David F. Graf, John David Pleins. The Gospel of Matthew. By Daniel J. Harrington. Paul: An Introduction to his Thought. By C. K. Barrett. A Radical Jew: Paul and the Politics of Identiy. By Daniel Boyarin. New Testament Theology. By G. B. Caird, completed and edited by L. D. Hurst. The Fatherhood of God from Origen to Athanasius. By Peter Widdicombe. (...) Dieu et le Christ selon Grégoire de Nysse. By Bernard Pottier. Eucharistic Presence: A Study in the Theology of Disclosure. By Robert Sokolowski. Theological Hermeneutics: Development and Significance. By Werner Jeanrond. Theologie aus Efahrung der Gnade. Annäherungen an Karl Rahner: Edited by Mariano Delgado and Mathias‐Lutz Bachmann. Bernhard Welte's Fundamental Theological Approach to Christology.. By Anthony J. Godzieba. Sacred Identity: Exploring a Theology of the Person. By Jane Kopas. A Salvation Audit. By Colin Grant. Medical Ezhics: Sources Of Catholic Teachings, Second Edition. Edited by Kevin O'Rourke and Philip Boyle. Mission and Conversion: Proselytizing in the Religious History of the Roman Empire. By Martin Goodman. Literacy and Power in the Ancient World. Edited by Alan K. Bowman and Greg Woolf. St Cyril of Alexandria: The Christological Controversy. Its History, Theology and Texts. By John A. McGuckin. Ambrose of Milan: Church and Court in a Christian Capital. By Neil B. McLynn. Basil of Cuesareu. By Philip Rousseau. Augustine. By Mary T. Clark. Irenaeus. By Dennis Minns. Divine Heiress: The Virgin Mary and the Creation of Christian Constantinople. By Vasiliki Limberis. The Irish Tradition in Old English Literature. By Charles D. Wright. Relics, Apocalypse and the Deceils of History: Ademar of Chabannes, 989–1034. By Richard Landes. Huguccio: The Life, Works, and Thought of a Twelfth‐Centuy Jurist. By Wolfgang P. Müller. The Presence of God: A History of Western Christian Mysticism, Volume II: The Growth of Mysticism. By Bernard McGinn. Preaching the Crusades: Mendicant Friars and the Cross in the Thirteenth Century. By Christoph T. Maier. Mary Ward: A World in Contemplation. By Henriette Peters. The Letters of Teilhard de Chardin and Lucile Swan. Edited by Thomas M. King and Mary Wood Gilbert. Pseudo‐Marry: By John Donne. Edited, with an Introduction and Commentary, by Anthony Raspa. Donne and the Politics of Conscience in Early Modern England. By M. L. Brown. The Caroline Captivity of the Church: Charles 1 and the Remoulding of Anglicanism. By Julian Davies. Érudition et religion aux XVIIe et XVIIIe siécles. By Bruno Neveu. Cardinal Lavigerie: Churchman, Prophet and Missionary. By François Renault. Dom Columba Marmion: A Biography By Mark Tierney. Christian Mission in the Twentieth Century. By Timothy Yates. Religion in Africa: Experience and Expression. Edited by Thomas D. Blakely, Walter E. A. van Beek and Dennis Thomson. (shrink)

Carney and Graber have recently claimed that religious ethics can have its ultimate foundation in charismatic divine love and grace, without logically presupposing independent ethical principles. While their defense of the autonomy of religious ethics is successful against many typical philosophical critiques, their derivation of ethical principles from divine realities is not essentially but only contextually religious. Since divine elements make no crucial difference to that derivation, religious ethics contains essentially the same derivation of ethical principles from facts as does (...) non-religious ethics. Religious ethics, however, should not resist this conclusion, since the conclusion does not weaken any of its important functions. (shrink)

In Conjoining Meanings, I argue that meanings are composable instructions for how to build concepts of a special kind. In this summary of the main line of argument, I stress that proposals about what linguistic meanings are should make room for the phenomenon of lexical polysemy. On my internalist proposal, a single lexical item can be used to access various concepts on different occasions of use. And if lexical items are often “conceptually equivocal” in this way, then some familiar arguments (...) for externalist conceptions of linguistic meaning need to be reevaluated. (shrink)

The books I review are a series of three volumes of the same project, Nietzsche’s Engagements with Kant and the Kantian Legacy, edited in 2017 by Marco Brusotti, Herman Siemens, João Constâncio, Tom Bailey, Maria João Mayer Branco and Katia Hay who seek to situate Nietzsche’s work in relation to Kant and Kantianism and to interpret it from this perspective. This review consists of two parts: the first part reviews and discusses each of the works focusing on a selection of (...) prominent chapters; the second part extends their intuitions. (shrink)

This paper presents a novel objection to ontological arguments. This objection aims at showing that ontological arguments in general, given the intrinsic nature of their conclusion, are of an impossible nature. The argument rests on the fact that conclusive ontological arguments would contradict the very nature of God.

This paper presents a case study in the exegesis of Buddhist tantric literature by examining a segment of the corpus of Guhyasam?ja literature and, in doing so, addresses both emic and etic approaches to the hermeneutics of tantric texts. On the most basic level, we discuss the mechanisms for interpreting statements within the root tantra internal to the exegetical tantric literature itself, as exemplified by Candrak?rti’s ‘Brightening Lamp’ commentary and the extensive sub-commentary by Bhavyak?rti. On another level, however, these same (...) exegetical moves can be viewed in terms of the ideas ‘re-use’ and reformulation of the root text, and how they shape the understanding of the role and function of tantric commentary. (shrink)

Byrne & Russon's target article displays all the difficulties encountered when one fails to take a methodological behaviourist approach to imitation. Their conceptual apparatus is grounded in a mixture of introspection and folk psychology. Their distinction between action-level and program-level imitation falters on goal imputation for sequential acts. In an alternative gradient descent model, behaviour can be simulated as a frustration/satisfaction gradient descent in the animal's “potentiality space,” as defined by knowledge, inventiveness, and the surrounding environment.