Že od vsega začetka je dobro znano, da so se po padcu Troje Ahajci surovo znesli nad preživelimi Trojanci, samo proti dvema, Eneju in Antenorju, so se zaradi starega gostinskega prijateljstva in ker sta se zmeraj zavzemala za mir in vrnitev Helene, odpovedali slehernemu vojnemu pravu. Nato je po raznih nezgodah Antenor z množicoEnetov, ki so bili zaradi upora pregnani iz Paflagonije in so, ker so pred Trojo izgubili kralja Pilajmena, iskali voditelja in bivališče, prišel v najbolj notranji zaliv Jadranskega (...) morja. Eneti in Trojanci so pregnali Evganejce, ki so prebivali med morjem in Alpami, in zasedli njihovo ozemlje. Kraj, kjer so najprej stopili na kopno, se imenuje Troja in po njem so poimenovali Trojanski okraj. Vsemu ljudstvu je ime Veneti. (shrink)

Ob množici del grških in rimskih piscev, ki so bila prevedena v slovenski jezik, je Livijeva Zgodovina doslej ostala nekako ob strani. Razen posameznih odlomkov ni bilo prevedenega nič. Količina ohranjenega besedila, avtorjev slog z dolgimi stavčnimi periodami, izbranim besediščem in različnimi retoričnimi prijemi, vse to pred­stavlja za prevajalca gotovo precejšnjo oviro. Z novo knjigo, ki je pred kratkim izšla pri Slovenski matici in prinaša prvih pet Livijevih knjig v prevodu Primoža Simonitija, se sedaj to spreminja. Knjigo je uredil David (...) Movrin, ki je napisal tudi spremno besedo in pripravil obsežen spremni aparat. Prevod zajema nekje sedmino ohranjenega Livijevega dela, ob predvidenem nadaljevanju s skupino prevajalcev si lahko obetamo izid nadaljnjih zvezkov in v doglednem času tudi prevod vsega, kar se je od Livija ohranilo v rokopisnem izročilu. (shrink)

Much art is committed to political causes. However, does art contribute something unique to political discourse, or does it merely reflect the insights of political science and political philosophy? Here I argue for indispensability of art to political discourse by building on the debate about artistic cognitivism, the view that art is a source of knowledge. Different artforms, I suggest, make available specific epistemic resources, which allow audiences to overcome epistemic obstacles that obtain in a given ideological situation. My goal (...) is to offer a general model for identifying cognitive advantages for artworks belonging to distinct artforms and genres, in a way that can account for each artwork’s historical and cultural specificity. More speculatively, however, my account also comments on the ancient struggle between philosophy and the arts as competing modes of persuasion, and expands our notion of legitimate political discourse to include a greater plurality of discursive genres. (shrink)

_An exploration of the relationship between contemporary art, politics, and activism, Artists Remake the World introduces readers to the political ambitions of contemporary art in the early twenty-first century and puts forward a new, wide-ranging account of art’s political potential. Surveying such innovations as evidence-driven art, socially engaged art, and ecological art, the book explores how artists have attempted to offer bold solutions to the world’s problems. Vid Simoniti offers original perspectives on contemporary art and its capacity as a (...) force for political and social change. At its best, he argues, contemporary art allows us to imagine utopias and presents us with hard truths, which mainstream political discourse cannot yet articulate. Covering subjects such as climate change, social justice, and global inequality, Simoniti introduces the reader to a host of visionary contemporary artists from across the globe, including Ai Weiwei, Olafur Eliasson, Wangechi Mutu, Naomi Rincón Gallardo, and Hito Steyerl. Offering a philosophy of contemporary art as an experimental branch of politics, the book equips the reader with a new critical apparatus for thinking about political art today. (shrink)

This paper argues for a realist position in the metaphysics of aesthetic properties. Realist positions about aesthetic properties are few and far between, though sometimes developed by analogy to realism about colours. By contrast, my position is based on a disanalogy between aesthetic properties and colours. Unlike colours, aesthetic properties are perceived as relatively unsteady properties: as powers that objects have to cause a certain experience in the observer. Following on from this observation, I develop a realist account of aesthetic (...) properties as causally efficient powers, analogous to properties like fragility or poisonousness. To show how such a view can be made ontologically respectable, I draw on recent ‘dispositionalist’ accounts of powers in philosophical metaphysics. I then offer two arguments in favour of this view. First, the view matches the phenomenology of aesthetic judgement. Second, the view offers an explanation of how it is that critics can demand agreement with their aesthetic judgements. (shrink)

The last twenty‐five years have seen a radical shift in the work of politically committed artists. No longer content to merely represent social reality, a new generation of artists has sought to change it, blending art with activism, social regeneration projects, and even violent political action. I assess how this form of contemporary art should lead us to rethink theories of artistic value and argue that these works make a convincing case for an often‐dismissed position, namely, the pragmatic view of (...) artistic value. However, the pragmatic view, when properly applied, sets the bar high indeed—art that tries to change society should be considered good art only when it succeeds in making a tangible difference. (shrink)

How can conceptual art contribute to political discourse? By the late 1960s, New York conceptual artists like Adrian Piper were faced with this difficult question. Conceptual artistic experiments seemed removed from the anti-war, anti-racist and feminist struggles, while personally many artists became increasingly involved in activism. I revisit the knotty relationship between art and politics through a close analysis of Piper's work in this period. Against the received view, I argue that Piper's early work was remarkably devoid of political concerns, (...) however, I also show how Piper’s later, anti-racist work, crucially derived from the rhetorical strategies, which she had developed earlier. Bridging art historical and philosophical approaches, this investigation culminates in a new philosophical view of the relationship between art and (anti-racist) political discourse: art emerges as a creative form of political rhetoric. (shrink)

What role do images play in philosophical persuasion? With the advent of bio-art in the 1990s, a new vista opened up for this age-old puzzle: the possibility of creating images through bioengineering of living matter. Here, I test the critical intentions of bio-artists by setting up a comparison between, on the one hand, bio-art, and on the other, bioethics, a philosophical discipline, which developed at around the same time as this new artform. I argue there is an aspect of ethics--'the (...) difficulty of reality' in Cora Diamond's coinage--which analytic bioethics obscures, and which art can help us come to terms with. I develop my argument by comparing the work of artists Eduardo Kac, Stelarc and Maja Smrekar, with utilitarian bioethics by philosophers like Julian Savulescu. Philosophical concepts of the living presence, the viral image and the pensive image are revisited through this inquiry. (shrink)

In Art Incorporated, you seek to debunk the myth of the artworld as autonomous of the market forces of global capitalism. Instead, you argue, works of art have become yet another commodity. However, one could say that works of art have always been commodities as well as objects of aesthetic appreciation. What makes the problem pertinent now, in the age of artists like Takashi Murakami, Jeff Koons and Damien Hirst?

Art, as discussed in the third book of Arthur Schopenhauer’s The World as Will and Representation, plays a double role in his philosophical system. On one hand, beholding an object of aesthetic worth provides the spectator with a temporary cessation of the otherwise incessant suffering that Schopenhauer takes life to be; on the other, art creates an epistemological bridge between ourselves and the world as it really is: unlike science which only studies relations between things, contemplation of art leads to (...) knowledge of that which is “alone really essential to the world, the true content of its phenomena.” (WWR1: 184) It is this second aspect of Schopenhauer's aesthetics that is both appealing and curious: while Schopenhauer's aesthetics and epistemology are both rooted in his picture of the world as Will, which is (taken at face value) deeply counter-intuitive, it yet seems to me that by assigning epistemic value to art, he manages to capture the quality of profundity with which certain works of art strike us – a profundity that is accounted for neither by reference to mere enjoyment nor by reference to paraphrasable, propositional knowledge. (shrink)

Works of literature represent stories, characters, and events: these are the contents of a work. Often, the contents of literary works are fictional; however, it is just as characteristic of works of literature that these contents are narrated in a distinct style of writing, in an author’s distinct literary “voice.” In this paper, I consider whether works of literature might represent something over and above their fictional contents in virtue of their style alone and what consequences this might have for (...) our thinking about aesthetic education. Both of these concerns—with what works of art represent and what kind of knowledge they make available to us—have been central to recent analytic philosophy of art. While I.. (shrink)

Against recent criticisms of idealism coming from the camp of the so-called New Realists, this volume shows that there is (and always has been) more to idealism than mind-centered ontology. The chapters by a group of both leading and up-and-coming scholars show that idealism can be approached from a plethora of angles, both contemporary and historically inspired, and that this broader view is precisely what may save its reputation in the 21st century.

The article challenges the first premise of?speculative realism?, according to which, with Kant, the contact with the outside world was lost. Instead, it will be shown that the possibility of realism received its major impulse from two grand figures of German Idealism, from Kant as a precursor of the Romantic period and from Hegel as its, albeit critical, philosophical culmination. Based on three possible relations of knowledge to its outside, three ontologies will be distinguished, the ontology of immediacy, stretching from (...) rationalists to the last empiricists, Kant?s ontology of totalization, and, finally, Hegel?s?ontology of release? or?de-totalization?. As opposed to Descartes?s thing being constantly doubted in its existence, as opposed to Malebranche?s occasion being invariably induced by God, as opposed to Leibniz?s monad being an immediate embodiment of an idea, as opposed to Berkeley?s object vanishing when not perceived, and as opposed to Hume?s world lacking necessity, Kant philosophically warranted a world that does not have to be perpetually verified and can, hence, exist devoid of ideas produced by God and outside the constancy of the human gaze. Kant secured the normal and necessary existence of the world behind our backs and procured us with the common-sense normality of the world, but it was only Hegel?s absolute subjectivism that granted us the first glimpses into the radical meaninglesness of the facticity. It was not until Hegel?s logic of indifference of the notion to its immediate content that an egress of the circle of Kant?s totalization was made possible. nema. (shrink)

The story of Andy Warhol is in many ways a story of an outsider breaking into the mainstream. Born into a working class immigrant family, queer, poor, and deeply self-conscious about his appearance, Warhol turned his fortunes around to become not only a wildly successful artist in the 1960s but one of the era’s arbiters of taste. His best-known dictum was that ‘in the future, everyone will be world-famous for fifteen minutes’, although this was patently untrue of his own art. (...) Celebrities came and went, but his star shone for a long time and is now firmly fixed in the firmament of art history. (shrink)

In the field of contemporary continental ontology, Speculative realist thinkers are now grappling with the genealogy of their ideas in the history of modern philosophy. The Speculative Realism movement prompted a debate, criticizing the predominant postmodernist orientation in philosophy, which located its origins in Kantian "correlationism" which supposedly ended the period of early modern naive realist metaphysics by showing that the mind and the outside world can only ever be understood as correlates. The debate over a new kind of realism (...) has attracted many supporters and critics. In order to refocus its specific interpretation of modern philosophy in general and of the Kantian gesture in particular, this volume brings together major authors working on contemporary ontology and historians of ideas. It underlines and illustrates the fact that contemporary continental philosophy is rediscovering its past in original ways by productively re-interpreting some of the key concepts of modern philosophy. The perspectives and accounts of the key concepts of the history of philosophy are different in the views of individual contributors, and sometimes radically so, yet the discussion between contemporary realists and their critics shows that the real battleground of new ideas lies not in developing the philosophical motifs of the end of the 20th century, but rather in rethinking the milestones of modern philosophy. (shrink)

Ethical approval must be obtained before medical research can start. We describe the differences in EA for an pseudonymous, non-interventional, observational European study. Sixteen European national coordinators of the international study on very old intensive care patients answered an online questionnaire concerning their experience getting EA. N = 8/16 of the NCs could apply at one single national ethical committee, while the others had to apply to various regional ECs and/or individual hospital institutional research boards. The time between applying for (...) EA and the first decision varied between 7 days and 300 days. In 9/16 informed consent from the patient was not deemed necessary; in 7/16 informed consent was required from the patient or relatives. The upload of coded data to a central database required additional information in 14/16. In 4/16 the NCs had to ask separate approval to keep a subject identification code list to de-pseudonymize the patients if questions would occur. Only 2/16 of the NCs agreed that informed consent was necessary for this observational study. Overall, 6/16 of the NCs were satisfied with the entire process and 8/16 were unsatisfied. 11/16 would welcome a European central EC that would judge observational studies for all European countries. Variations in the process and prolonged time needed to get EA for observational studies hampers inclusion of patients in some European countries. This might have a negative influence on the external validity. Further harmonization of ethical approval process across Europe is welcomed for low-risk observational studies. Getting ethical approval for low-risk, non-interventional, observational studies varies enormously across European countries. (shrink)

[Peter Simons] Commonsense ontology contains both continuants and occurrents, but are continuants necessary? I argue that they are neither occurrents nor easily replaceable by them. The worst problem for continuants is the question in virtue of what a given continuant exists at a given time. For such truthmakers we must have recourse to occurrents, those vital to the continuant at that time. Continuants are, like abstract objects, invariants under equivalences over occurrents. But they are not abstract, and their being invariants (...) enables us to infer both their lack of temporal parts and that non-invariant predications about them must be relativized to times. \\\ [Joseph Melia] In this paper I try to eliminate occurrents from our ontology. I argue against Simons' position that occurrents are needed to supply truthmakers for existential claims about continuants. Nevertheless, those who would eliminate occurrents still need some account of our willingness to assert sentences that logically entail their existence. Though it turns out to be impossible to paraphrase away our reference to occurrents, I show that the truthmakers for such sentences are facts that involve only continuants. This is enough to allow us to regard our ordinary talk about occurrents as fictional. Finally, I argue that a proper conception of the underlying temporal facts about continuants can both avoid the problematic tensed theory of time and the problem of temporary intrinsics. (shrink)

Porté aux nues par les écrivains du XIXè siècle qui voyaient en lui le type même du poète maudit, Byron (1788-1824) a subi au XXè siècle un long purgatoire avant d'être enfin reconnu comme une personnalité littéraire de premier plan. Après les traductions en prose du siècle dernier qui, malgré leur mérite, n'offraient qu'un pâle reflet, on redécouvre aujourd'hui toute la virtuosité d'un poète qui jongle avec les rimes et les rythmes et qui demandait donc à être traduit en vers. (...) Ce choix de poèmes n'a d'autre ambition que de donner une meilleure idée de ses œuvres les plus célèbres. On y retrouva des poèmes de circonstances qui transcendent l'anecdote autobiographique, des morceaux de bravoure qui ont fait la réputation de Childe Harold et de Don Juan, sans oublier cet hymne vibrant à la liberté qu'est le Prisonnier de Chillon et, pour finir, la dernière tirade de Marino Faliero, drame peu connu en France et suprême hommage du poète anglais à la Venise de son imagination. (shrink)

Résumé L’ autrice analyse l’ influence de Richard Wright sur la philosophie féministe de Simone de Beauvoir. Après avoir observé le virage théorique et philosophique que représente Le Deuxième Sexe dans la pensée de Beauvoir, elle en interroge les influences possibles. C’ est chez Richard Wright que l’ autrice trouve les racines de la pensée beauvoirienne de l’ oppression des femmes, de l’ engagement de l’ écrivaine et du féminisme radical selon lequel les femmes doivent se constituer en groupe à (...) part entière pour se libérer. (shrink)

Simon Blackburn puts forward a compelling original philosophy of human motivation and morality. He maintains that we cannot get clear about ethics until we get clear about human nature. So these are the sorts of questions he addresses: Why do we behave as we do? Can we improve? Is our ethics at war with our passions, or is it an upshot of those passions? Blackburn seeks the answers in an exploration of guilt, shame, disgust, and other moral emotions; he draws (...) also on game theory and cognitive science in his account of the structures of human motivation. Many philosophers have wanted a naturalistic ethics a theory that integrates our understanding of human morality with the rest of our understanding of the world we live in. What is special about Blackburn's naturalistic ethics is that it does not debunk the ethical by reducing it to the non-ethical. At the same time he banishes the spectres of scepticism and relativism that have haunted recent moral philosophy. Ruling Passions sets ethics in the context of human nature: it offers a solution to the puzzle of how ethics can maintain its authority even though it is rooted in the very emotions and motivations that it exists to control. (shrink)

The immediate and guiding aim of this book is to introduce the contemporary reader to the work and thought of Simone Weil.

Simone Weil (1909-1943) was a defining figure of the twentieth century; a philosopher, Christian, resistance fighter, anarchist, feminist, labor activist and teacher. She was described by T. S. Eliot as "a woman of genius, of a kind of genius akin to that of the saints," and by Albert Camus as "the only great spirit of our time." Originally published posthumously in two volumes, these newly reissued notebooks, are among the very few unedited personal writings of Weil's that still survive today. (...) Containing her thoughts on art, love, science, God and the meaning of life, they give context and meaning to Weil's famous works, revealing a unique philosophy in development and offering a rare private glimpse of her singular personality. (shrink)

Contents: "Analysis of Claude Bernard's Introduction to the Study of Experimental Medicine," "Two Unpublished Chapters from She Came to Stay," "Pyrrhus and Cineas," "A Review of The Phenomenology of Perception by Maurice Merleau-Ponty," "Moral Idealism and Political Realism," "Existentialism and Popular Wisdom," "Jean-Paul Sartre," "An Eye for an Eye," "Literature and Metaphysics," "Introduction to an Ethics of Ambiguity," "An Existentialist Looks at Americans," and "What is Existentialism?".

Acquaintance with the Absolute is the first collected volume of essays devoted to the thought of Yves r. Simon, a thinker widely regarded as one of the great teachers and philosophers of our time. Each piece in this collection of essays thoughtfully complements the others to offer a qualifiedly panoramic look at the work and thought of philosopher Yves R. Simon. The six essays presented not only treat some major areas of Simon’s thought, pointing out their lucidity and originality, but (...) also his underpinning metaphysics, so central to his thought. Rather than attempt to present all aspects of this patient, careful, and penetrating thinker, these essays select enough to situate Simon’s philosophical excavations – especially his moral, political and action theory – among contemporary Thomistic philosophy. In defending philosophy as a valid way of knowing, Simon gives us an approach we can use to avoid contemporary dilemmas in the philosophy of science. Simon holds that philosophical truths both justify scientific method as a way of knowing the real and provide a basis for distinguishing what is ontologically significant in a scientific theory from what is not. This view allows us to avoid the apparently irrational conclusions of quantum mechanics without reducing scientific theories to being mere projections of our conceptual systems. Though aspects of some of the essays are suited for students of Simon’s thought, the essays as a whole introduce the less familiar reader to this great thinking and, further, invite him or her to pursue Simon’s own texts. The volume is enhanced by the inclusion of a definitive Yves R. Simon bibliography 1923-1996. The annotated bibliography is cross-reference in detail, revealing the astonishing variety of topics Simon treated. (shrink)

Simone Weil is one of the most profound thinkers of the twentieth century. Her writings encompass an extraordinary breadth of subjects, including philosophy, religion, sociology, and politics. A political activist and resistance fighter, her accomplishments are even more astonishing in light of her death in 1943 at the age of thirty-four. Whilst Weil was concerned with deep philosophical questions - the nature of human thought and human faculties, the limits of language, and thought's contact with reality through mediation, science and (...) beauty - the full significance of her work has frequently been obscured by her categorization as a purely religious writer or Christian mystic. Simone Weil: Basic Writings is an expertly edited anthology of her most important writings, presenting Weil's philosophy as it relates to politics, the nature of work, human nature in its duality, necessity, beauty and goodness. D. K. Levy and Marina Barabas have translated all the extracts anew, including translations of important notes and references missing from existing English language editions of Weil's work. Following an extensive introduction by D. K. Levy which places Weil's life and thought in context, each section opens with a short introduction situating the chosen passages within Weil's oeuvre. Simone Weil: Basic Writings is an outstanding starting point for anyone seeking an introduction to Weil's philosophy, and also essential reading for students and scholars of Weil's thought in related disciplines. (shrink)

In 1971, Ivan Illich wrote that school had become the world religion of a modernized proletariat. Without undoing the power of human interaction undergirding it, understanding how we learn is thus vital to undoing the institutional power of the West – of ‘deschooling’ society. Responding to the conflict between secular and religious schemes of education, the article investigates the ways in which the ‘atheist’ Gilles Deleuze and the ‘mystic’ Simone Weil both employed related stratagems from Stoic philosophy to critique ‘schooling’ (...) construed as the acquisition of, rather than participation in, knowledge. Through a critical reading of the differences between Deleuze's and Weil’s ideas of education, the argument suggests that these differences run aground on the fundamental opposition to a common adversary: that normative pedagogy which trivializes the need to re-school, as well as de-school, society. (shrink)

In these interviews from 1982 and 1985, I ask Beauvoir about her philosophical differences with Jean-Paul Sartre on the issues of voluntarism vs social conditioning and embodiment, individualism vs reciprocity, and ontology vs ethics. We also discuss her influence on Sartre's work, the problems with the current English translation of The Second Sex, her analyses of motherhood and feminist concepts of woman-identity, and her own experience of sexism.

Cambridge professor Simon Blackburn is best known to the general public as the author of several books of popular philosophy such as  ink, Being Good andTruth: a Guide for the Perplexed. Academic philosophers also know him as the author of one of the most important books of contemporary moral philosophy, Ruling Passions, and as a former editor of the leading journal Mind.

Since her death in 1986 and the publication of her letters and diaries in 1990, interest in the philosophy of Simone de Beauvoir has never been greater. In this engaging and timely volume, Margaret A. Simons and an international group of philosophers present 16 essays that reveal Beauvoir as one of the century’s most important and influential thinkers. As they set Beauvoir’s work into dialogue with Husserl, Merleau-Ponty, Heidegger, Foucault, Levinas, and others, these essays consider questions such as Beauvoir’s philosophical (...) relationship with Sartre; her ethic of the erotic; her views on marriage, motherhood, and female friendship; and her interpretations of oppression and liberation. This book discusses the full range of Beauvoir’s work, including The Second Sex, her unpublished diaries, autobiographical writings, novels, and philosophical essays, and broadens the scope and interpretive context of her unique philosophy. Contributors are Nancy Bauer, Debra Bergoffen, Suzanne Laba Cataldi, Edward Fullbrook, Eva Gothlin, Sara Heinämaa, Laura Hengehold, Stacy Keltner, Michèle Le Doeuff, Ann Murphy, Shannon M. Mussett, Margaret A. Simons, Ursula Tidd, Andrea Veltman, Karen Vintges, Julie Ward, Gail Weiss. (shrink)

In 1850, Jacob Frerichs produced the first and until now the only edition of Friedrich Schleiermacher’s important lectures on Practical Theology. It is a mix and compilation of students’ transcripts from six different semesters, redundant and at times contradictory, which doesn’t correspond to Schleiermacher’s actual lectures. Most of the transcripts used by Frerichs are still preserved and have now been evaluated for a new edition of Schleiermacher’s Practical Theology. This article disassembles Frerichs’ edition into its components giving evidence for every (...) text passage from which source Frerichs took it. (shrink)

I consider the ‘normative relevance’ argument and the idea of grounding. I diagnose why there appears to be a tension between the conclusion that we are tempted to reach and the intuition that the normative is grounded in or by the non‐normative. Much of what I say turns on the idea of the normative itself. In short, I think that concentrating on this idea can help us see how the tension arises. My aim is to encourage people to reconceptualize the (...) debate so as to begin to offer additional insight. To that end, I spend some time contrasting normativity with evaluation, and then think how the debate may alter if we run it with the latter. I doubt that doing so will solve any problem, and I suspect that what I say will be controversial anyway. But there is some value to changing matters nonetheless. The idea that runs through this paper is that the whole issue is so complex and deep that we should not narrowly construe it with reference only to normativity. (shrink)