The lives of children who live at the intersectional nexus between childhood autism and race may be considered as “shadow stories” that have remained silenced in autism literature. We explored the experiences of racialized parents who provide care to autistic children. We drew on a theoretical framework known as DisCrit and decolonizing arts-based methodologies. Racialized parents of autistic children demonstrated resistance along various themes, including fighting the system, protecting my child, and creating cultural communities. We join black girlhood studies, critical (...) race theory, and disabled children’s childhood studies by continuing the journey of decentering Whiteness in childhood disability research. We demonstrate how disabled racialized communities engage in activism and social justice while forming powerful counter-discourses. (shrink)

Elicitation materials like language portraits are useful to investigate people’s perceptions about the languages that they know. This study uses portraits to analyse the underlying conceptualisations people exhibit when reflecting on their language repertoires. Conceptualisations as manifestations of cultural cognition are the purview of cognitive sociolinguistics. The present study advances portrait methodology as it analyses data from structured language portraits of 105 South African youth as a linguistic corpus from both qualitative and quantitative perspectives. The approach enables the (...) uncovering of (a) prominent underlying conceptualisations of African language(s) and the body, and (b) the differences and similarities of these conceptualisations vis-à-vis previous cognitive (socio)linguistic studies of embodied language experiences. In our analysis, African home languages emerged both as ‘languages of the heart’ linked to cultural identity and as ‘languages of the head’ linked to cognitive strength and control. Moreover, the notion of ‘degrees of proficiency’ or ‘magnitude’ of language knowledge emerged more prominently than in previous studies of embodied language experience. (shrink)

The appearance of an English translation of Gershom Scholem's 1975 memoir of his lifelong friendship with Walter Benjamin cannot help but raise (or, re-raise) a variety of questions, both biographical and substantive, concerning Benjamin's celebrated oscillation between theological and materialist interests. Scholem's portrait of Benjamin is undoubtedly the most intimate testimony available concerning Benjamin's early development — his early affiliations with the German Youth Movement, his virulent antiwar sentiment, his fascination for anti-positivistic, speculative modes of thought, and his (...) taciturn and often unpredictable character. The reliability of Scholem's account is buttressed by a diary he kept during these years and a vast number of letters from Benjamin to him. (shrink)

Portrait of a Dalai Lama. The Life and Times of the Great Thirteenth. Sir Charles Bell. Wisdom Publications, London 1987. 467pp. £11.95.

In lieu of an abstract, here is a brief excerpt of the content: The Portrait of a Miniature Giant PAUL BAROLSKY There was a time when the art of the sixteenth -century Florentine painter Agnolo Bronzino was reviled for its aesthetic excesses. Writing in his classic “The Cicerone: An Art Guide to Painting in Italy,” the great nineteenth -century scholar Jacob Burckhardt wrote that “as an historical painter,” Bronzino must “be placed among the Mannerists,” a judgement equivalent to placing (...) him in an art historical hell. But, Burckhardt added, “as a portrait painter, he is inferior to none of his contemporaries, not even the Venetians.” Given the fact that among the Venetians, Titian is one of the great portrait painters, this is astonishingly high praise. Nowadays, it is not uncommon for art historians, appreciating Mannerism, to celebrate the elegance and preciosity of Bronzino’s exquisite portraits. Of all Bronzino’s portraits, that of the dwarf Morgante is one of the most beguiling. It is distinctive in so many ways. This picture is the subject of a remarkable book by the Israeli art historian Sefy Hendler, Gracious and Beautiful Monster : The Literary Universe of Bronzino’s Nano Morgante, which is an exceptional piece of scholarship. Different aspects of his book have influenced various scholars who have written about the picture and who have fruitfully exploited its various details. What needs to be appreciated, however, is the way in which this book brings out the extraordinary synthetic character of Bronzino’s strange painting and the diarion 28.3 winter 2021 Sefy Hendler, Gracious and Beautiful Monster: The Literary Universe of Bronzino’s Nano Morgante, Maschietto Editore, 2016. 158 the portrait of a miniature giant versity of ways in which it belongs to the courtly culture in which it was painted. The beauty of Hendler’s seemingly all-encompassing book is that it tells a fascinating and highly entertaining story with admirable brevity in just over seventy pages. Hendler, who packs a great deal of deeply absorbing information and insight into his slim and learned volume, is sensitive to the sentiment of Peter Whiffle’s well-known dictum: “You cannot begin not to tell until you know more than you are willing to impart.” Hendler’s exquisitely concise story concerns a favorite dwarf of Duke Cosimo de’ Medici, one Braccio di Bartolo in Poggio di Fornione, who flourished at the ducal court in the middle years of the sixteenth-century. Bronzino painted the dwarf for the Duke in 1552. His sometime rival, Giorgio Vasari, painter, architect, and biographer, described the picture as “beautiful and marvelous” in his Lives of the artists. The painting is double-sided, featuring a frontal view of the naked dwarf on the recto of the canvas (fig. 1) and a rear view of the dwarf, similarly exposed on the verso (fig. 2), where the dwarf’s backside dominates the composition. (We might well observe here that Bronzino specialized lasciviously in painting the culo (witness the coy Cupid in his famous Venus, Cupid, Folly, and Time). It is therefore not surprising that the anatomical backside rendered over and over again in Italian Renaissance art, with all its connotations, sexual and otherwise, has recently been the subject of a considerable body of scholarship. Hendler, himself writing on various writers of the period, offers little hints into the psycho-sexual dimension of Bronzino’s picture. Its depiction of so many birds leads inevitably to a consideration of the word “bird” in its sexual dimension. Enough said. If Morgante’s posterior is manifest on the verso, the recto of the painting has its own special interest. A butterfly flies by the dwarf directly and conveniently in front of his genitals—a coy if not teasing gesture of decorum. The portrait once hung in the Palazzo Vecchio, which had become a ducal residence. In recent years it has moved around quite a bit, settling in the Galleria Palatina of the Palazzo Pitti, once a ducal residence. Vasari’s description of the picture is not without a certain iro- Paul Barolsky 159 ny, since the beautiful form of the painting as painting stands in opposition to the less than beautiful dwarf. The writer Anton Francesco Grazzini captured this paradox in his poem on the occasion of the death... (shrink)

To mitigate the potentially devastating effects of the COVID-19 pandemic, it is vital to identify psychosocial and moral resources. The care, preservation, protection, and well-being of social communities are attributes of prosocial behavior that can be such a resource. The purpose of the study is to identify the features of prosocial orientation of Russian youth during the COVID-19 pandemic, as well as to identify strategies for prosocial behavior during the COVID-19 pandemic. The sample consisted of 447 people. The study (...) was conducted in May 2020 in the form of an online survey of subjects using Google Forms (“Moral Foundations Questionnaire method” and “Portrait Values Questionnaire”). The research made it possible to establish that Russians were dominated by norms of care, fairness, purity; values of benevolence-universalism, security, and self-direction. During the COVID-19 pandemic, the prosocial orientation of Russians may manifest itself in the following behavioral strategies: proactive prosocial strategy of “caring for others” (true altruism, expressed in forms of volunteering, helping a stranger, and charity despite the risk of contracting a coronavirus infection); egoistic strategy of prosocial behavior “self-care through caring for others” (volunteering based on self-development; helping a stranger to improve your own psychological well-being); conventional prosocial strategy “self-care” (self-isolation and preventive behavior). In the long run, it is necessary to identify personal and environmental resources that allowed people to effectively implement a prosocial self-isolation strategy during the COVID-19 pandemic, as well as various forms of volunteerism. (shrink)

1946. Translated by Amy Allen and Maxim Newmark.

In this vivid memoir, Denis Guénoun excavates his family's past and progressively fills out a portrait of an imposing, enigmatic father. René Guénoun was a teacher and a pioneer, and his secret support for Algerian independence was just one of the many things he did not discuss with his teenaged son. To be Algerian, pro-independence, a French citizen, a Jew, and a Communist were not, to René's mind, dissonant allegiances. He believed Jews and Arabs were bound by an authentic (...) fraternity and could only realize a free future together. René Guénoun called himself a Semite, a word that he felt united Jewish and Arab worlds and best reflected a shared origin. He also believed that Algerians had the same political rights as Frenchmen. Although his Jewish family was rooted in Algeria, he inherited French citizenship and revered the principles of the French Revolution. He taught science in a French lycée in Oran and belonged to the French Communist Party. His steadfast belief in liberty, equality, and fraternity led him into trouble, including prison and exile, yet his failures as an activist never shook his faith in a rational, generous future. René Guénoun was drafted to defend Vichy France's colonies in the Middle East during World War II. At the same time, Vichy barred him and his wife from teaching because they were Jewish. When the British conquered Syria, he was sent home to Oran, and in 1943, after the Allies captured Algeria, he joined the Free French Army and fought in Europe. After the war, both parents did their best to reconcile militant unionism and clandestine party activity with the demands of work and family. The Guénouns had little interest in Israel and considered themselves at home in Algeria; yet because he supported Algerian independence, René Guénoun outraged his French neighbors and was expelled from Algeria by the French paramilitary Organisation Armée Secrète. He spent his final years in Marseille. Gracefully weaving together youthful memories with research into his father's life and times, Denis Guénoun re-creates an Algerian past that proved lovely, intellectually provocative, and dangerous. (shrink)

Offering an inside look at the hidden dimensions of teaching, this provocative text presents insight into, and analysis of, the work of teaching--from preparing ...

The present study aims to investigate the psychological mechanisms beneath the change in the facial expression of some of the beheaded characters in Caravaggio’s works, starting from The Head of Medusa, from the artist’s youth, and reaching David with the Head of Goliath, a mature workpiece, searching the continuity between them through a series of self-portraits/ self-insertions of the artist in his work. The psychodynamic analysis is limited by the constitution of its practice to the study of the process (...) of image production and the artistic imaginary, rather than to the investigation of man or the artist out of reach by means of figurative and symbolic language. This approach aims to highlight the drives of the unconscious, the structures of censorship and the technique of operating of the defensive mechanisms that ultimately could contribute to the production of such masterful images that are both seductive and confusing. The study incorporates and continues the contribution of authors such as Leo Bersani and Ulysse Dutoit who applied Laplanche’s theory of generalized seduction theory in the analysis of Caravaggio’s works, but also the mirror stage of Lacan and the masterful study of Winnicott regarding the reflection of the baby in the mimics of his mother, an unconscious unclear image that will stand forever for the perception of the self. The change of the affective resonance, expressiveness and emotional relating to violence is natural in the course of human evolution. While not even the artist Caravaggio can elude it, his work can illustrate by deflection these transforma­tions of the dynamics of the mind, it can raise new questions and open new perspectives of understanding the artistic drive. (shrink)

This paper offers a composite portrait of the concept of magnanimity in nineteenth-century America, focusing on Ralph Waldo Emerson, Margaret Fuller, and Henry David Thoreau. A composite portrait, as a method in the history of philosophy, is designed to bring out characteristic features of a group's philosophizing in order to illuminate characteristic features that may still resonate in today's philosophy. Compared to more standard methods in the historiography of philosophy, the construction of a composite portrait de-privileges the (...) views of individual authors. These philosophers saw the virtue of magnanimity as a remedy for a number of modern ills. American philosophers suggest that the best sort of magnanimity is acquired by adopting the correct relation to the natural world, including new forms of inquiry, or by adopting a life of voluntary poverty. Magnanimous individuals are critics of capitalism and offer themselves as exemplars of a better, experimental life. (shrink)

Introduction to the life and work of G.E.M. Anscombe.

In this vivid memoir, Denis Guénoun excavates his family's past and progressively fills out a portrait of an imposing, enigmatic father. René Guénoun was a teacher and a pioneer, and his secret support for Algerian independence was just one of the many things he did not discuss with his teenaged son. To be Algerian, pro-independence, a French citizen, a Jew, and a Communist were not, to René's mind, dissonant allegiances. He believed Jews and Arabs were bound by an authentic (...) fraternity and could only realize a free future together. René Guénoun called himself a Semite, a word that he felt united Jewish and Arab worlds and best reflected a shared origin. He also believed that Algerians had the same political rights as Frenchmen. Although his Jewish family was rooted in Algeria, he inherited French citizenship and revered the principles of the French Revolution. He taught science in a French lycée in Oran and belonged to the French Communist Party. His steadfast belief in liberty, equality, and fraternity led him into trouble, including prison and exile, yet his failures as an activist never shook his faith in a rational, generous future. René Guénoun was drafted to defend Vichy France's colonies in the Middle East during World War II. At the same time, Vichy barred him and his wife from teaching because they were Jewish. When the British conquered Syria, he was sent home to Oran, and in 1943, after the Allies captured Algeria, he joined the Free French Army and fought in Europe. After the war, both parents did their best to reconcile militant unionism and clandestine party activity with the demands of work and family. The Guénouns had little interest in Israel and considered themselves at home in Algeria; yet because he supported Algerian independence, René Guénoun outraged his French neighbors and was expelled from Algeria by the French paramilitary Organisation Armée Secrète. He spent his final years in Marseille. Gracefully weaving together youthful memories with research into his father's life and times, Denis Guénoun re-creates an Algerian past that proved lovely, intellectually provocative, and dangerous. (shrink)

This true story explores friendship and the impact of harsh life circumstances on one's life. Vivid with self-exploration, philosophical conversation, and a surprising twist, Portrait of a Life will empower readers and leave them striving to attain peace of mind, self-worth, and the realization of happiness.

Renaissance, conspiracies, bonfires: Machiavelli's little-known youth -- Highs and lows : Machiavelli emerges -- Interlude : Machiavelli's letter -- The prince -- The discourses -- The comedy of life : letters and plays, wives and lovers -- History -- Ghosts.

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 42.2 (2004) 219-220 [Access article in PDF] Jack Zupko. John Buridan: Portrait of a Fourteenth-Century Arts Master. Notre Dame: University of Notre Dame Press, 2003. Pp. xix + 446. Cloth, $70.00. Paper, $40.00. What does the name "John Buridan" call to mind? For many, including medievalists, not much at all—at best, perhaps, a set of apparently unrelated ideas: nominalism; an impetus theory (...) of projectile motion; and a peculiar account of the will (although "Buridan's ass," the indecisive donkey caught between two equally appetizing bales of hay, is not found in Buridan's writing). In correcting this ignorance—an injustice to arguably the most famous and influential philosopher of the early-to-mid-fourteenth century—the temptation might have been to articulate Buridan's "positions" on "the big questions," allowing readers to fit Buridan into received categories. Thankfully, the present work, the first book-length study of Buridan in any language, resists this temptation. The John Buridan that emerges from Jack Zupko's skillful "exercise in philosophical portraiture" doesn't serve to simply fill gaps in our awareness of the historical record, but to enlighten and challenge our understanding of the practice of philosophy and the study of its history.Zupko emphasizes throughout that Buridan was a teacher, a master of arts in Paris. Buridan's pedagogical concerns help make sense of his central work in logic. As the basis for his arts lectures, Buridan chose Peter of Spain's Summulae Logicales, but in commenting on Peter, Buridan moves beyond creative exegisis to comprehensive renovation. Buridan (c. 1300-c. 1361) naturally wanted to accommodate terminist or via moderna supposition theory; but more importantly, he wanted a logic text that would set out a general plan of philosophical inquiry, "a compendium of methods, a 'how-to' book for the philosopher" (135). Buridan thus designed his own Summulae de Dialectica as a new authoritative logic text, and Zupko persuasively argues that its "nominalism" should be understood as less a set of doctrines in theoretical logic, than a program of logical practice, an education in logic as the ars artium, the universal intellectual tool.Zupko's portrait of "Buridan's vision of the philosophical enterprise" is thus appropriately divided into two parts. The first summarizes Buridan's method as described in the individual treatises of his Summulae. The second displays the method in practice, rehearsing and evaluating some of Buridan's arguments on various subjects. Many scholars will gravitate first to the latter part, where Zupko offers important interpretations and clarifications of Buridan's views. In these chapters, Zupko helps us to appreciate, among other things: how the problem of universals served to help Buridan define the scope of philosophy (ch. 10); the philosophical modesty of Buridan's account of the intellectual soul's presence in the body (ch. 11); the relationship between Buridan's epistemology and the skepticism of his Parisian contemporary Nicholas of Autrecourt (ch. 12); the sense in which Buridan is an "empiricist," viz an epistemic naturalist and reliabilist (ch. 13); how Buridan regarded moral psychology as applied physics, treating virtue as a kind of impetus (ch. 14); how Buridan's account of freedom can be regarded as a "perfection" of Thomistic intellectualism (ch. 15).Throughout these discussions, Zupko always keeps in sight his larger purpose of illustrating Buridan's conception of philosophical inquiry. Zupko makes much of the fact that [End Page 219] Buridan never wrote as a theologian, remaining his entire career in the arts faculty, where he wanted logic to organize secular inquiry. As Zupko notes, in this way Buridan's scholastic project seems to prefigure the "modern." But Buridan seems modern in another way as well. As Zupko points out in his "Introduction," though a cleric, Buridan never joined a religious order, so that his ideas developed independently of the Franciscan and Dominican traditions. He was, then, a teacher without a tradition—at least without deliberate allegiance to tradition, although he was in many ways the product of traditional scholastic intellectual discipline.Perhaps this... (shrink)

The author of Look Back in Anger, Inadmissible Evidence, and The Entertainer has created a brilliant dramatization of this classic about a man who retains his youth while the decay of advancing years and moral corruption appears on a portrait painted by one of his lovers.

Joseph Ibn Kaspi was a prolific writer in one of the most productive periods in the history of Jewish philosophy. Joseph Ibn Kaspi: Portrait of a Hebrew Philosopher in Medieval Provence investigates his overarching intellectual project and important themes in his writings.

Grace Lee Boggs (1915–2015) was a philosopher and activist influenced by Hegel, Marx, Malcolm X, Martin Luther King, Jr., and her collaborators C. L. R. James and Jimmy Boggs. During her long career, she inspired a generation of young thinker-activists to establish institutions and practices in Detroit to promote community and justice. The article gives an overview of her life and accomplishments, discusses the social and political philosophy set forth in her book The Next American Revolution: Sustainable Activism for the (...) Twenty-first Century, and reviews the documentary about her by director Grace Lee, American Revolutionary: The Evolution of Grace Lee Boggs. (shrink)

At a time when monuments are falling, learning processes and discourses accelerating, it seems apposite to pay attention also to artworks commissioned by established institutions in order to give form to good intentions. This essay focuses on a commissioned portrait of female professors, on art education, Dutch art policy / politics and the former colonial site that the University of Amsterdam occupies, in order to aide this institution’s desired process to become more inclusive. It proposes Art Research as a (...) realm that can contribute a differentiated and thoughtful positioning of research and universities in visual and public domains: a necessary ally. Since the essay was written in Summer 2019, much has happened: the Faculty in question has been found to be the locus of ongoing sexual harassment. The student victims did not feel that the complaints procedures were safeguarding them sufficiently. They went to the media. The university’s ombudsperson asked to investigate found no systemic deficiencies. Since George Floyd’s death, such a conclusion is no longer possible, and the Board of the university has admitted shameful and systemic failures.[1] We now know better what “systemic” means. This essay’s case study is meant to show that art and philosophy can jointly analyze systems and organizations as a basis for necessary conversations, followed by a broad range of people taking responsibility and acting accordingly. In Covid lock-down times, it became deceptively obvious how unimportant art is. Through an essay such as this, it is hopefully also evident how art can be an indicator of institutional culture: e.g. in relation to how embedded the principle to consult specialists is, even if this seems to be unimportant. And that is a matter of life and death. [1] https://www.folia.nl/actueel/138876/fred-weerman-en-geert-ten-dam-dit-is-ongehoord-beschamend. (shrink)

__Schooling for Critical Consciousness_ addresses how schools can help Black and Latinx youth resist the negative effects of racial injustice and challenge its root causes._ Scott Seider and Daren Graves draw on a four-year longitudinal study examining how five different mission-driven urban high schools foster critical consciousness among their students. The book presents vivid portraits of the schools as they implement various programs and practices, and traces the impact of these approaches on the students themselves. The authors make a (...) unique contribution to the existing scholarship on critical consciousness and culturally responsive teaching by comparing the roles of different schooling models in fostering various dimensions of critical consciousness and identifying specific programming and practices that contributed to this work. Through their research with more than 300 hundred students of color, Seider and Graves aim to help educators strengthen their capacity to support young people in learning to analyze, navigate, and challenge racial injustice. _Schooling for Critical Consciousness_ provides school leaders and educators with specific programming and practices they can incorporate into their own school contexts to support the critical consciousness development of the youth they serve. (shrink)

This article presents data from the Growing up with Media study related to the implementation of a risk reduction protocol that resulted in three groups of youth: low-risk youth (no flags), youth flagged because of violence involvement and not clinically referred; and flagged youth who were referred to a team clinician due to additional risk considerations. Data are from 3,979 US youth 14–15 years of age recruited through social media between October 2018-August 2019. Four in (...) ten youth were flagged for review. Findings suggest that this methodology of identifying and reviewing cases appears to be working as intended: Not only did referred youth have more flags than non-referred youth, but post-hoc analyses suggested that these youth also had higher rates of psychosocial problems (e.g., non-victimization adversity, substance use, and depressed mood). The implementation of a risk reduction protocol such as the one described in this article adds a layer of human subject protection beyond the more standard list of websites and hotlines provided to all participants in most studies. This protocol leads the way for future studies to recreate a similar process to address concerning responses collected from survey research. (shrink)

These letters reveal Cohen the friend and teacher of philosophers and jurists, the conscientious liberal, the philosopher. Since few of Cohen's germinal ideas appear in his letters, his tenets find their chief expression through his daughter's uneven commentary. Of the major series of letter exchanged between Cohen and noted figures of his time, O. W. Holmes's letters--with their wit and irony-prove the most exciting.--G. L. C.

Gersonides was a highly original Jewish philosopher, scientist, and biblical exegete, active in Provence in the first half of the fourteenth century. Ruth Glasner explores his impressive achievements, and argues that the key to understanding his originality is his perspective as an applied mathematical scientist.