Greek philosophical tradition, not only the Aristotelian one, is strongly associated with proportion (Eco, 1993: 90). This principle of symmetry is generalisable; forasmuch as it is used as a normative rule in figurative arts. Nonetheless, the proportion for Ancient Greeks does not only describe a mathematical relation, but also represents a metaphysical principle. Thus, beauty is the measurement of the elements of the external form (in the case of tragedy, the meter, the symmetry of the parts, the number (...) of syllables, the number of verses) as well as the aesthetic harmony which the play transmits as total to the spectators (in the same case, the content must be neither superior nor inferior to the chosen form; otherwise the form would give the impression of grotesque or inadequate). (shrink)

One of the delights of life is the discovery and rediscovery of patterns of order and beauty in nature--the designs revealed by slicing through a head of cabbage or an orange, the forms of shells and butterfly wings. These images are awesome not just for their beauty alone, but because they suggest an order underlying their growth, a harmony existing in nature. What does it mean that such an order exists; how far does it extend? The Power of Limits was (...) inspired by those simple discoveries of harmony. The author then went on to investigate and measure hundreds of patterns--ancient and modern, minute and vast. His discovery, vividly illustrated here, is that certain proportions occur over and over again in all these forms. Patterns are also repeated in how things grow and are made--by the dynamic union of opposites--as demonstrated by the spirals which move in opposite directions in the growth of a plant. The joining of unity and diversity in the discipline of proportional limitations creates forms that are beautiful to us because they embody the principles of the cosmic order of which we are a part; conversely, the limitlessness of that order is revealed by the strictness of its forms. The author shows how we, as humans, are included in the universal harmony of form, and suggests that the union of complementary opposites may be a way to extend that harmony to the psychological and social realms as well. (shrink)

Depression experienced by older adults is proving an increasing global health burden, with rates generally 7% and as high as 27% in the USA. This is likely to significantly increase in coming years as the number and proportion of older adults in the population rises all around the world. Therefore, it is imperative that the effectiveness of approaches to the prevention and treatment of depression are understood. Creative arts interventions, including art, dance movement, drama and music modalities, are utilised (...) internationally to target depression and depressive symptoms in older adults. This includes interventions led by trained arts therapists as well as other health and arts professionals. However, to date there has not been a systematic review that reports effects and examines the processes (why) and mechanisms (how) of creative arts interventions are used to address depression in this older age group. This systematic review of studies on creative arts interventions for older adults experiencing depression examined: outcomes of four creative arts modalities (art, dance movement, drama, and music); with particular attention paid to processes documented as contributing to change in each modality; and mechanisms considered to result from these processes. Our analysis of 75 articles (17 art, 13 dance, 4 drama and 41 music) indicates mostly significant quantitative or positive qualitative findings, particularly for interventions led by creative arts therapists. Mechanisms of change gleaned from the studies that were common across modalities include physical (e.g. increased muscle strength; neurochemical effects, such as endorphin release), intra-personal (e.g. enhanced self-concept, strengthened agency and mastery; processing and communication of emotions), cultural (e.g. creative expression, aesthetic pleasure), cognitive (e.g. stimulation of memory) and social (e.g. increased social skills and connection), that were all considered to contribute to reduced depression and symptoms. Recommendations for future research include a stronger focus on testing of processes and mechanisms. (shrink)

There is given a short review of the most important biographical information about Abū Ḥayyān al-Tawḥīdi (d. ca. 1023), an outstanding representative of the Adab literature. Amongst his creative heritage it is emphasized the importance of the «Epistle (on Penmanship)». The conclusion is made that Adab style served in the best way the author’s intention. He was the first one who succeeded to exhaustively summarize the primary (defining) stage of the Arabic script formation, to clearly formulate the technique for preparing (...) the qalam. The “Epistle” is written in a simple manner, though it is not devoid of traditional elegance and eclecticism. Anticipating further development of the multiple types of proportional script referring to the existent schools, al-Tawḥīdi formulates common additional principles (apart from proportions), that, according to him, would constitute their aesthetics in future. In the second part of the “Epistle” there are given classic sayings and teachings, that became commonplace, regarding this type of art. Al-Tawḥīdi goes beyond his contemporaries and authors of the inner tradition. He gives the full scope of then existing knowledge regarding the discourse object. These data can be divided into rubrics depending on the subject and genre. In many of them we can trace the author's desire to zealously protect the Arab cultural heritage. It is concluded that al-Tawḥīdi strived to take out and convey further the main information, rules and techniques from the previous era of styles formation, so that they would not be lost or significantly changed. The writing contains numerous terms related to the preparation of tools and the process of script itself, which may again become relevant in the modern science of calligraphy. (shrink)

L’idée de rythme, loin d’être attribuée uniquement aux phénomènes temporels, réunit en soi l’espace et le temps, le sensible et l’intelligible. La constance des figures rythmiques dans la base de toutes les disciplines artistiques fait du rythme le moyen d’une analogie universelle et le fil d’or qui réunit les arts dans une même communauté singulière.

Commissions of experts regularly meet to reply to questions such as: What will be the population of the country, or even of our planet, in ten, fifteen or twenty-five years? In what proportion will production have increased, what modifications will its composition and utilizations have undergone? The attraction of efforts to forecast the future continues. That is a fact. How does it proceed? That is a problem, one on which de Jouvenel focuses on in this book. The Art of (...) Conjecture clearly explains what the "study of the future" can mean. De Jouvenel emphasizes the logical and political problems of forecasting and discusses methods in economics, sociology, and political science by which the future can be studied. More importantly, he discusses the fallacies to which the "study of the future" is peculiarly likely to give rise. The author argues that it is natural and necessary for the population to have visions of the future. Without this, he states, we would only be able to set one opinion of the future against another. If the origins and meanings of these predictions remained obscure, only the event could decide among the opinions. If any man can be said to have created the serious "study of the future" in our time, it is Bertrand de Jouvenel. Futuribles, a periodical he created, continues to represent a major turning point in contemporary social science. Jouvenel aimed to show how "the art of conjecture" could inform prudential judgment and allow citizens and statesmen to detect troubles before they arise. (shrink)

How do we perdure when we and everything around us are caught up in incessant change? But the course of this change does not seem to be haphazard and we may seek the modalities of its Logos in the transformations in which it occurs. The classic term "Metamorphosis" focuses upon the proportions between the transformed and the retained, the principles of sameness and otherness. Applied to life and its becoming, metamorphosis pinpoints the proportions between the vital and the aesthetic significance (...) of life. Where could this metaphysical in-between territory come better to light than in the Fine Arts? In this collection are investigated the various proportions between the vital significance of the constructivism of life and a specifically human contribution made by the creative imagination to the transformatory search for beauty and aesthetic values. Papers by: Lawrence Kimmel, Mark L. Brack, Sheryl Tucker de Vazquez, William Roberts, Jadwiga Smith, Victor Gerald Rivas, Max Statkiewicz, Matti Itkonen, George R. Tibbetts, Linda Stratford, Jorella Andrews, Ingeborg M. Rocker, Stephen J. Goldberg, Leah Durner, Donnalee Dox, Catherine Schear, Samantha Henriette Krukowski, Gary Maciag, Kelly Dennis, Wanda Strukus, Magda Romanska, Patricia Trutty-Coohill, Ellen Burns, Tessa Morrison, Sabine Coelsch-Foisner, Gary Backhaus, Daniel M. Unger, Howard Pearce. (shrink)

L’article discute les conceptions respectives que le philosophe Ernst Cassirer et l’historien de l’art Erwin Panofsky se font de l’espace artistique. L’occasion en est donnée par une discussion lors du Kongress für Ästhetitk und Allgemeine Kunstwissenschaft (Congrès d’esthétique et de science de l’art) organisé à Hambourg en 1933 sur la question de l’espace et du temps artistiques. La perspective, considérée par Panofsky comme une forme symbolique, constitue un bon cas pour saisir les proximités et différences entre l’historien de l’art et (...) le philosophe des formes symboliques. L’espace de la perspective correspond-il à cet espace de l’art que le philosophe définit comme espace de la représentation (Darstellung)? À cet exemple de la perspective, exemple classique quoique souvent évoqué sans grande précision pour comparer les deux théoriciens, l’article en ajoute un autre, inédit, à savoir celui de la théorie des proportions. Peut-on dire que la théorie des proportions qui structure elle aussi la surface de l’image est, comme la perspective, une forme symbolique? La réponse permet de préciser la façon dont Cassirer et Panofsky construisent un lien entre art, représentation et subjectivité. À travers cette recherche des affinités et différences dans la conception de l’art, ce qui se joue en toile de fond, c’est, d’une part, la possibilité et les limites de l’interdisciplinarité et du dialogue fécond entre philosophie et histoire de l’art et, d’autre part, la question de savoir si une commune théorie de l’art était partagée à Hambourg dans ces années, autour de l’Institut Warburg. (shrink)

In the UK, Art and Design Higher Education currently faces multiple challenges regarding its validity, efficacy and cultural value. These challenges are tractable against a complex historical background of successive governmental agendas aimed at both widening social participation and increasing professionalization/standardization. A specific problematic in this context is the teaching of 'critical', 'theoretical', or 'cultural' studies components on undergraduate degrees especially where written outputs are viewed as separate to visual work. The complexity of equitable and effective instruction is increased by (...) the high proportion of neurodiverse, as opposed to neurotypical, learners engaging with this sector of education. In this paper, the pedagogic potential of re-interpreting the problematics of traditional academic writing for Arts students through a neurodiversity framework will be assessed through case studies of the two primary dynamics evidenced in literature, both of which are at play in the teaching of non-visual concepts to art and design students. Adopting a neurodiverse framework, so I will argue, undermines the most pernicious aspects of neoliberal management routed through competitive differences, and empowers students to access truly emancipatory forms of learning. (shrink)

In this paper I compare two models of expert judgment: the art critic in Hume’s “Of the Standard of Taste” and the “wise man” in “Of Miracles.” The art critic is a true judge of beauty because he has made himself into a person who is optimally receptive to beauty. He possesses the virtues of taste: “Strong sense, united to delicate sentiment, improved by practice, perfected by comparison, and cleared of all prejudice” (“Of the Standard of Taste,” 241). But the (...) virtues of the art critic, I argue, are also those of the “wise man,” the person who consistently “proportions his belief to the evidence” (EHU 10.4; SBN 110). Comparison of these two characters reveals that for Hume the virtues fundamental to the art critic’s critical competence are also epistemic virtues. Hume’s exposition of aesthetic excellences should thus be of interest for virtue epistemology. Because contemporary virtue epistemologists have tended to focus almost exclusively on the relationships between intellectual and moral virtues, Hume offers something new: an account of epistemic virtues based on aesthetic virtues. (shrink)

The remarks that critics make about works of art are various in character. Some of them are strictly interpretative—for instance, The Lord of the Rings may be claimed to be an allegorical representation of the Gospel Story; the slow movement of a symphony may be said to express a period of calm after a revolution; a painting may be said to depict the horrors of war. Some may be biographical—that the play was written in 1654, that the poem was written (...) while the poet was in love, that the sculpture was commissioned by the Canada Council. Some may be autobiographical—that the 7th has always been one's favourite Beethoven symphony, that one identifies with Joe in Room at the Top, that Medea was the first tragedy one saw performed in the original Greek. Some are ‘descriptive’ in the philosopher's sense, ‘matters of fact’—that the narrator is a senior civil servant, that the painting is all in pastel colours, that the conductor has not played all the repetitions. Some invoke formal structural principles—that the doors are in classical proportions, that the work's catastrophe is deferred to the finale, that the poem is in iambic pentameters. Some are concerned with the exposition of technique—that the spaciousness is suggested by the use of open fifths, that speed is portrayed by making the moving object sharper than anything else in the picture, that the effect of a sculpture is achieved by the use of metallurgically distinct materials. I wish to concentrate on a type of remark found frequently in art criticism, which defies reduction to any of the kinds mentioned above. The following are typical instances:That picture will not, at the first glance, deceive as a piece of actual sunlight; but this is because there is more in it than the sunlight, because under the glazing veil of vaulted fire which lights the vessel on her last path, there is a blue deep, desolate hollow of darkness, out of which you can hear the voice of the night wind, and the dull boom of the disturbed sea; because the cold deadly shadows of twilight are gathering through every sunbeam, and moment by moment as you look, you will fancy some new film and faintness of the night has risen over the vastness of the departing form. (shrink)

'This is a work of seminal importance in educating scholars on how to perceive art in any medium precisely because Heninger provides a successful methodology for understanding what lies behind the apparent content of texts and images.

Testimony about episodes of artistic creativity often describes a puzzling combination of deliberate and involuntary elements. For example, Vincent Van Gogh wrote that it was possible for him to make an especially expressive picture, or as he put it, something with “feeling” in it, because the picture had already spontaneously taken form in his mind before he started drawing. He added, however, that if there was something worthwhile in the picture, this was “not by accident but because of real intention (...) and purpose.” Reflection on such testimony and on his own experience as a poet led Paul Valéry to conclude that artistic creation always involves a combination of “conscious acts” and “spontaneous formation”; only their relative proportion varies. If this point is granted, the outstanding and notoriously difficult problem is to understand how such different elements combine in the creative process. In other words, how is inspiration, or the work of the muse, related to the artist’s deliberations, plans, rational choices, and intentional actions? In what follows I shall develop a conjecture that falls within the conceptual space defined by two extreme theses--the popular, inspirationist idea that artistic creativity is a sudden, involuntary, and ultimately inexplicable event, and the dubious, rationalistic counterthesis, which characterizes artistic creation as a principled, deliberate selection from amongst an array of previously known options, each of which is associated with an expected quantity of artistic value. In my first section I discuss Henri Poincaré’s reflections on creativity in his 1908 essay, “L’Invention mathématique.” Although some of Poincaré’s ideas have been restated and elaborated upon in the literature on creativity, I contend that his most important claims still merit a closer look. Taking Poincairé’s general model as my point of departure, I sketch a new conjecture about artistic creativity in section 2; I also discuss a kindred proposal by Jon Elster. In section 3 I further illustrate and explain this conjecture with reference to Virginia Woolf’s artistic breakthrough in the writing of Jacob’s Room. In my final section I take up and respond to objections that may be raised against these claims about artistic creativity. (shrink)

SummaryHistorians have explored the continuities between science and the arts in the Industrial Revolution, with much recent historiography emphasizing the hybrid nature of the activities of men of science around 1800. Chemistry in particular displayed this sort of hybridity between the philosophical and practical because the materials under investigation were important across the research spectrum. Inflammable gases were an example of such hybrid objects: pneumatic chemists through the eighteenth century investigated them, and in the process created knowledge, processes and instruments (...) essential for the creation of a new gaslight industry from 1800. Once this industry began to expand and mature, the interests and experiments of the gas industry stimulated new research work which in turn had relevance for theoretical debates.This paper explores how the emergence of the gas industry from 1800 provided an impetus for new work in theoretical chemistry. Boulton & Watt, important pioneers of the gas industry, explored the compositions of inflammable gases for practical purposes: the composition of these gases had an important effect on the luminosity of gaslights, and hence the economics of the new technology compared to older forms of lighting. As they explored these questions in their engineering work, they stimulated their friend William Henry to explore the nature of these gases further, and he carried out a series of experiments to determine their composition more exactly than Boulton & Watt had done. Henry published a series of paper between 1805 and 1820 where he made arguments about the compositions of inflammable airs, and further related these to contemporary debates about the laws of multiple and definite proportions, as well as John Dalton's atomism. Henry's research was also a hybrid of the theoretical and practical in that he tried to develop results useful for the fledgling gas industry. Specifically, he suggested the best kind of coal to use, and showed how gas quality varied with distillation time and temperature. (shrink)

The iconographic development of painting and sculpture illustrates the role of woman acknowledged by the Roman Catholic Church in the history of humanity (creation, the fall of Adam and Eve, redemption and sanctification) and in daily life (intellectual, personal, family, and social service) which is heightened in proportion to how explicit the christian message is.

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 181 reason that it provides the best arguments available to date against nuclear deterrence, but ultimately the arguments fail because the author takes as an apodictic premise what is actually a prudential judgment that no nuclear weapons could ever be used in a moral and ethical way. Professor Kenny is not only an Absolutist, but also a Determinist. The present reviewers are neither. University of Illinois-Urbana Champaign-Urbana, (...) Illinois Public Affairs Officer ROBERT BARRY, O.P. MATTHEW M. MURPHY United States At·ms Control and Disarmament Agency Art and Beauty in the Middle Ages. By UMBERTO Eco. Translated by Hugh Bredin. New Haven and London: Yale University Press, 1986. Pp. 131. $12.95. This is not a new work. As Umberto Eco himself states in the Preface of this book, the text was written in 1958 and published in 1959 as a single chapter of a four volume handbook on the history of aesthetics, written by various authors (Momenti e problemi di storia dell' estetica, Milano, Marzorati, 1959, vol. 1: 'Dall'antichita classica al barocco, pp. 115-230). No doubt it was due to the recent popularity in Europe and America of Mr. Eco's novel, The Name of the Rose (which subsequently inspired the film of the same title) that Yale University Press saw fit to translate and reissue this seminal work of the author. He wrote it when he was 26 years old and serving in the Italian army. Hugh Bredin, a senior lecturer in scholastic philosophy at Queen's University, Belfast, has simplified in the translation what the author claims was the "tortured syntax" of his impressionable youth. Nevertheless, one suspects that the style and context of this slim volume will appeal primarily to philosophers and not art historians, despite its ubiquitous presence in art bookstores and museum giftshops. The scope of Mr. Eco's work enables the reader to gain an overview of aesthetic problems which developed in Europe in the period between the sixth to the :fifteenth centuries, when the classical tradition inherited by the medieval world no longer provided adequate solutions. A thousand years of artistic and philosophical history are barely penetrated in so few pages, but Mr. Eco forthrightly proceeds to catalogue ideas and thinkers in chapters devoted to such topics as Transcendental Beauty, Symbol and Allegory, and the Aesthetics of Proportion and Light. As 18~ BOOK REVIEWS was evident in The Name of the Rose, the author has an encyclopedic knowledge of both classical and medieval sources (he gently chides Maritain for his ignorance of one of Bonaventure's definitions of beauty, p. 24). As professor of semiotics his understanding of words and images is impressive (he takes a whole page to explain the visual applications of Vitruvius's use of the word euritmia, pp. 65-66). But after repeated eitings of relevant quotations from various medieval works-some in outright conflict with one another-the reader has no satisfying sense of what was the "medieval " view of art and beauty. Rather a mosaic of interesting and diverse facts emerges in the thematic structure of the book which cuts across chronological, geographical, and cultural boundaries. Thus, for instance, one learns in the chapter on the Aesthetics of Light that St. Augustine preferred equilateral to scalene triangles, Hugh of St. Victor considered green to be the most beautiful of colors, the Limbourg brothers in painting miniatures had no use for sfiirnatura just as Chretien de Troyes had no use for it in literature, and the Christian image of God as Light traced its pedigree to the Semitic Baal and the Egyptian Ra with heavy doses of Plato and Arab pantheism thrown in as contributing influences. This dizzying effect of so much intelligent trivia, forcibly pieced together in an effort to arrive at a persuasive conclusion, backfires and ultimately works ag:iinst Art and Beaiity in the Middle Ages in much the same way that the plot in The Name of the Rose suffered from a surfeit of scholastic argumentation. Mr. Eco, in an attempt to bedazzle his readers with facts, merely blinds them to the point. Other authors have written about art in the Middle Ages, and they were successful... (shrink)

The iconographic development of painting and sculpture illustrates the role of woman acknowledged by the Roman Catholic Church in the history of humanity (creation, the fall of Adam and Eve, redemption and sanctification) and in daily life (intellectual, personal, family, and social service) which is heightened in proportion to how explicit the christian message is.

John Dewey’s philosophical pragmatism offers a reformatory approach to the arduous relationship between natural sciences and humanities. The crucial issue, which Dewey sets himself to resolve, is the pre-Darwinian influence of classical philosophy upon various scholarly practices. Ancient background assumptions still today permeate a considerable proportion of academic research and argumentation on both sides of the debate. Even evolutionary accounts appear to be affected. In order to avoid the often implicit, but nonetheless problematic, consequences that ensue from such archaic (...) premises, I examine Dewey’s reappraisal of the concepts of art, science and knowledge. An analysis of these key concepts renders it possible to understand the proper function of aesthetic experience. In this paper, natural constitution of an aesthetic experience, which carries one of the intrinsic relations between art and science, comprises the core of the proposed solution. Furthermore, establishment of an integral aesthetic connection forms a fruitful basis for further bridging of the gap between hard sciences and humanities. (shrink)

In order to judge artworks, that is, to understand and to appreciate artworks, David Hume states in his essay Of the Standard of Taste that a good critic needs a particular kind of art education, one summarized in his five criteria for establishing a standard of taste: 1. "delicacy of imagination"; 2. "practice in a particular art and the frequent survey or contemplation of a particular species of beauty"; 3. "form comparisons between several species and degrees of excellence, and estimating (...) their proportion to each other"; 4. "free from all prejudice"; and 5. "good sense," which not only checks the influence of prejudice but also by means of keen reasoning allows the good critic to comprehend the artwork... (shrink)

Far from the harmony of the Greek statues, the Renaissance proportions in which is reflected metaphysical beauty, the clarity of Realism and the tranquility of Impressionism, the art of the 20th century is turning to new expressive possibilities and new, often incomprehensible, perhaps even meaningless, forms of communication. One of the most provoking artistic expressions is auto‑destructive art that appears in the 60s of the last century. The creator of the concept and author of the manifesto on auto‑destructive art, Gustav (...) Metzger (1926–2017) successfully combined his own political and ethical preoccupations with his work and showed a great degree of engagement with current issues of society and its (re) humanization. Auto‑destructive artistic expression should not be interpreted as a negation of painting, but rather as a creative process that carries a strong social and ethical message. (shrink)

This article addresses the extent and ways in which gender inequality in the newspaper coverage of arts and culture has changed in France, Germany, the Netherlands, and the United States, 1955-2005. Through a quantitative content analysis, we mapped all articles that appeared in two elite newspapers in each country in four sample years 1955, 1975, 1995, and 2005. First, despite increasing women’s employment in arts and culture and a quantitative feminization of journalism, elite newspaper coverage of women in arts and (...) culture has hardly changed, making up about 20-25 percent consistently over the last 50 years. Second, our results show surprisingly few cross-national differences in the amount of the newspaper coverage devoted to women in arts and culture. Third, although women are underrepresented in the coverage of all artistic genres, there is some evidence of horizontal sex segregation—particularly in architecture and modern dance and fashion —as well as vertical sex segregation—in that attention to women has increased in “highbrow” genres that have declined in status. Finally, as the status of an actor type increases from laymen to artistic directors, the proportion of women decreases in newspaper attention to arts and culture. (shrink)

The purpose of this paper is the influence of Science- Technology- Engineering- Art- Mathematics education on the Olympic education of primary and middle school students. The research object is the Beijing Olympic model school. The frame structure and educational concept of STEAM education are studied, and a questionnaire survey on the current situation of Olympic education is conducted. Finally, improvement measures based on the survey results are provided combined with STEAM education, and the teaching effect is analyzed. The results show (...) that after the improvement of the educational model, the student’s mastery of the Olympic knowledge has been greatly improved. The proportion of students who can master all knowledge increases from 5.78 to 8.45%, by 2.67%. The proportion of students with knowledge of most Olympic sports increases from 48.6 to 55.67%, by 7.07%. The proportion of students with little or no knowledge drops to 1.54%. Meanwhile, students are increasingly interested in Olympic events, especially after being inspired by the STEAM education model. The proportion of students who are very concerned about Olympic events has increased by 6.45%. The proportion of students who are more concerned about Olympic events has increased by 5.11%. Thus, the Olympic education work has achieved some results. Students gradually become interested in the Olympic events. They begin to actively pay attention to the Olympic events and learn the Olympic spirit. Then, their physical literacy is improved. (shrink)

In Phenomenology of Perception Merleau-Ponty tells us of how the phenomenon unfolds and its unfolding is never complete: there is no total view of being to be had. Being as phenomenon is, because of this, non-objective: it is disclosed, as Heidegger would put it, in proportion to its being concealed. Both Heidegger and Merleau-Ponty suggest, in their different ways, that this obscure counterpart to the disclosed world, forgotten in objective thought and instrumental rationality, is nonetheless shown, made visible, in (...) art. That is to say, paraphrasing Heidegger, that art shows the concealed as concealed. Conceptual art and its 'dematerialisation of the art object' that the art critic Lucy Lippard described during its early days, have not been readily associated with phenomenology, in part because conceptual art practices tended to be, as Lippard noted, 'non-visual'. Nonetheless, if one overlooks the apparent visual bias of Merleau-Ponty's treatment of art, then it becomes clear, as this paper set out to show, that Conceptual art's 'immaterial' or non-objective ontology is peculiarly congruent with the late Merleau-Ponty's account of the intertwining of the visible and the invisible. In particular this paper argued that the relevance to ecophenomonology of conceptual practices such as Richard Long's that consist in walking as medium and method, is not primarily in their thematising of nature or the body, but rather in their own ontological structure as open-ended and non-objective projects as opposed to their being directly perceptible objects. (shrink)

In 1984 the renowned biologist Edward O. Wilson wrote that we are human in good part because of the particular way we affiliate with other organisms. They are the matrix in which the human mind originated and is permanently rooted, and they offer the challenge and freedom innately sought. To the extent that each person can feel like a naturalist, the old excitement of the untrammeled world will be regained. I offer this as a formula of reenchantment to invigorate poetry (...) and myth: mysterious and little known organisms live within walking distance of where you sit. Splendor awaits in minute proportions.1 This poetical quote nicely captures the essence of Wilson’s biophilia hypothesis. While the notion .. (shrink)

This book is short on pages but long on valuable content. Oates intends to refute the rather widespread contention that Plato "denied the worth of all the so-called fine arts" by an objective and historical study of the Ion, Republic, Greater Hippias, Phaedrus and Symposium. Since the author himself clearly summarizes his own thought frequently, we here need only present his final conclusion. Every human activity is valuable in direct proportion to its closeness to the domain of the ideas (...) and, specifically, the Idea of Beauty and Goodness. But artistic creation is a human activity. Therefore, it too must be oriented towards the Idea of Beauty. Thus, "the creative artist must be ‘philosophical'" and, since he comes close to Beauty through intuition, also "quasi-mystical", as were Aeschylus, Sophocles, Dante, Milton, Shakespeare, Michelangelo. So too was Plato himself, whose dialogues are philosophical dramas containing "a more explicit expression of a vision of reality and value than is to be found in epics or tragedies or lyrics". In Oates’ book the only flaws are minor: an occasional awkwardness of style, referral only to scholars prior to the mid-twentieth century, notes are placed at the end of chapters rather than at the bottom of the pages. Even so, the book is well worth having.—L.S. (shrink)

Background Respect for human rights and bioethical principles in prisons is a crucial aspect of society and is proportional to the well-being of the general population. To date, these ethical principles have been lacking in prisons and prisoners are victims of abuse with strong repercussions on their physical and mental health. Methods A systematic review was performed, through a MESH of the following words (bioethics) AND (prison), (ethics) AND (prison), (bioethics) AND (jail), (ethics) AND (jail), (bioethics) AND (penitentiary), (ethics) AND (...) (penitentiary), (prison) AND (human rights). Inclusion and exclusion criteria were defined and after PRISMA, 17 articles were included in the systematic review. Results Of the 17 articles, most were prevalence studies (n.5) or surveys (n.4), followed by cross-sectional studies (n.3), qualitative studies (n.1), retrospective (n.1) and an explanatory sequential mixed-methods study design (n.1). In most cases, the studies associated bioethics with prisoners’ access to treatment for various pathologies such as vaccinations, tuberculosis, hepatitis, HIV, it was also found that bioethics in prisons was related to the mental health of prisoners, disability, ageing, the condition of women, the risk of suicide or with the request for end-of-life by prisoners. The results showed shortcomings in the system of maintaining bioethical principles and respect for human rights. Conclusions Prisoners, in fact, find it difficult to access care, and have an increased risk of suicide and disability. Furthermore, they are often used as improper organ donors and have constrained autonomy that also compromises their willingness to have end-of-life treatments. In conclusion, prison staff (doctors, nurses, warders, managers) must undergo continuous refresher courses to ensure compliance with ethical principles and human rights in prisons. (shrink)

In proportion to their numbers the Semitic peoples have exercised a greater influence on the course of human history as a whole than any other of the large races of mankind. As far as our records carry us, it appears that the early spirit of exploration and adventure, as distinct from racial migration, had its origin with them. Even in Homeric times, the Phoenician trader or pirate was a familiar feature of the Mediterranean world. Greece, commonly regarded by us (...) as the home of true culture, admitted that she owed to Phoenicia her first introduction to the art of writing. Semitic establishments were spread over the whole of the ancient world, and the only state that ever seriously contested with Rome the sovereignty of the world was Carthage. Though not famed more for military prowess than other races, the Semitic branch of mankind in the seventh century of our era swept over northern Africa and western Asia, overflowing at two points into Europe itself. (shrink)

Examining afresh the 16th-century style of mannerism, Sjoerd van Tuinen synthesises philosophy and aesthetics to demonstrate not only the contemporary relevance of mannerism but its broader significance as a form of modal thinking. Beyond a style of art that spurned the balance and proportion of earlier Renaissance painting in favour of compositional instability and tension, this book looks a-historically at mannerism to investigate what it can tell us about continental modal metaphysics, focusing in particular on its artificial and what (...) Van Tuinen calls 'secondary' nature. In three main parts, Van Tuinen first explores the ontology, aesthetics and ethics of mannerism. He then develops this through an extended study of Leibniz as a modal and indeed mannerist philosopher, before outlining in the final part a (neo)-mannerist aesthetics that incorporates diagrammatics, alchemy and contemporary technologies of speculative design. Drawing on Bergson, Simondon, Deleuze, Stengers and Agamben, together with artworks from Lomazzo to Arcimboldo, The Philosophy of Mannerism uncovers the rich new pathways created by the combination of philosophy, art history and contemporary theory. (shrink)

ART and, in particular, IVF and ICSI, are essentially a laboratory experiment, but which, due to its specificity, goes beyond the disciplinary boundaries, explicitly acquiring an ethical-axiological dimension in the interaction zone of the members of a particular community involved in child-bearing. At the same time, it is noted that the activity and choice of a way to solve problems with childbirth has a characteristic severity, due to the traditions and level of civil and social maturity of a country, due, (...) among other things, to the level and achievements of technical equipment in this industry of knowledge and practice. According to foreign studies, about half of all subfertile people in developed countries are trying to overcome their infertility with the help of medicine, and research data indicate that the proportion of such individuals is growing. The most difficult problems of reproduction are associated with low quality of oocytes or low ovarian reserve ; aspermia and deep teratozoospermia, can not give hope to a couple to have genetically related offspring. However, donor programs create additional opportunities for social motherhood / paternity. Donation of oocytes is found in ART programs at least 3 times more often than donation of spermatozoa. At the moment, donation of gametes and embryos raises a number of ethical, legal, medical and socio-psychological issues that require competent support from experts of a wide range of specialists, as well as competent, non-commercial, primarily due to the interaction between donors and recipients. The analysis of possible modifications of family and kinship ties is based on the idea of transforming social relations, in which assisted reproductive technologies play a fundamental role, building a system of “new kinship and new family.” By entering into the intimate process of the birth of life and acting as a regulator of the composition of participants in this process through the stimulation of responsibility to present and future relatives, reproductive technologies affect the initial moral requirements in the community, redefining universal values based on the specific situation. Scenarios of childbearing through ART with the involvement of additional participants are possible in the context of the legal field, but legally fixed anonymity of the donor leaves many unresolved issues related to the problems of hereditary diseases, genetic abnormalities and epigenetic changes; in addition, there is a problem associated with the possibility of unintentional incest, as well as the difficulties of the child’s self-identification and the closeness of his genealogy. Solutions to these issues are postponed until later, thereby initiating future dramatic situations, ethical conflicts and dilemmas with a poorly predictable positive outcome. (shrink)

Vesalius wrote nothing about the aesthetics of the anatomical illustrations found in his De humani corporis fabrica (1543). There are, however, two passages in this work that offer a starting point for an investigation into the illustration’s idealised style. In discussing the body that is best for a public dissection Vesalius says that it must be one that resembles the ‘Canon of Polycleitus’, and later, he refers to his pursuit of the historia absoluti hominis or historia of the perfect man. (...) These two passage lie at the heart of a solution to questions concerning the style of Vesalius’s illustrations. This thesis seeks to investigate the role that visual material (art) played in determining the visual character of Vesalius’s natural philosophical illustrations. In antiquity art and nature were generally thought to be opposed. This distinction was undermined in the sixteenth century as images came to play a role in acquiring and conveying knowledge about the natural world. The role that art played in determining the visual character of Vesalius’s illustrations, I argue, constitutes another facet of the undermining of the ancient opposition between art and nature that occurred in the sixteenth century. The relationship between art and nature forms the basis of my investigation into the style of Vesalius’s illustrations. I examine three separate but interrelated avenues which, I suggest, played a role in determining the style of the Fabrica illustrations. The first derives from the history of natural philosophy and medicine. I suggest that the concepts art, nature, teleology, form and beauty as they are found in Plato’s Timaeus, and Marsilio Ficino’s sixteenth­century commentary on that work, provide an epistemology and account of the body that is also found in Galen’s On the Usefulness of the Parts of the Body, and subsequently reflected in both the text and illustrations of the Fabrica. This epistemological underpinning is entirely in keeping with the method of proportional representation of the body and associated aesthetic advocated in Polycleitus’s Canon. The second avenue concerns the role that both ancient and Renaissance artworks played in determining the style of the Fabrica illustrations. While the illustrations embody the ideal and typical form advocated in the Canon they also embellish this, and contain stylistic features derived from Hellenistic sculpture and found in High Renaissance art. I argue for specific parallels between Hellenistic sculpture, Michelangelo’s nudes in his Sistine Chapel frescos and Vesalius’s illustrations. Thirdly, I consider Renaissance artwriting and aesthetics as a source for understanding the idealised style of the Vesalian illustrations. In particular I examine Leon Battista Alberti’s tabulation of the ideal man and his aesthetic principle concinnitas. This offers a Renaissance account of beauty and the ideal that is analogous to the Canon of Polycleitus, is central to an understanding of Italian Renaissance art and aesthetics, and has a particular application to Vesalius’s illustrations and their teleological underpinnings. I suggest that contrapposto asthe expression of antithesis in art offers a theoretic parallel for the augmentation of the austere classical style found in Vesalius’s own use of contrapposto and his interest in musculature and movement. Throughout, this thesis is concerned with relationships between visual materials. I elaborate on this theme through an investigation of the influence that Vesalius’s illustrations had on a selection of anatomical illustrations that came in its wake. I construe the relationships that obtain between these illustrations as analogous to those which occur in what are termed art historical ‘movements’. (shrink)

Excerpt from The Psychology of Religion: An Empirical Study of the Growth of Religious Consciousness The author of the following pages has thought in his modesty that, since his name is as yet unknown to fame, his book might gain a prompter recognition if it were prefaced by a word of recommendation from some more hardened writer. Believing the book to be valuable, I am glad to be able to write such a preface. Many years ago Dr Starbuck, then a (...) student in Harvard University, tried to enlist my sympathies in his statistical inquiry into the religious ideas and experiences of the circumambient population. I fear that to his mind I rather damned the whole project with my words of faint praise. The question-circular method of collecting information had already, in America, reached the proportions of an incipient nuisance in psychological and pedagogical matters. Dr Starbuck's questions were of a peculiarly searching and intimate nature, to which it seemed possible that an undue number of answers from egotists lacking in sincerity might come. Moreover, so few minds have the least spark of originality that answers to questions scattered broadcast would be likely to show a purely conventional content. 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)

RESUMO: A relação entre arte e filosofia é examinada com base na noção de Stimmung, que surge no século XVIII, na teoria musical, como relação de proporção entre tons ou instrumentos, sendo, em seguida, transposta para a estética, no final do século, com Kant e Fichte. Em Kant, a Stimmung refere-se à disposição das faculdades de conhecimento para um conhecimento em geral, isto é, como o pressuposto da apresentação estética, por meio da qual se preserva a noção de proporção entre (...) as faculdades. Em Sobre o espírito e a letra na filosofia, Fichte assinala que a disposição estética é o modo de atuar do impulso estético, ligado livremente e diretamente à faculdade da imaginação e à atividade de criação. Essa tradição estética é revista pelo historiador Aloïs Riegl, em 1899, no ensaio intitulado Die Stimmung als Inhalt der moderne Kunst, no qual o conceito de Stimmung é pela primeira vez apresentado em chave histórica, enquanto conteúdo da arte moderna, no sentido de atmosfera, isto é, da vivência de uma relação por meio da qual a consciência, em conformidade com a lei imanente, adquire alguma certeza. Revisão semelhante foi realizada pelo jovem filósofo György Lukács, em A alma e as formas, de 1910, na qual o autor pensa as diferenças de sentido entre as noções de Stimmung e de atmosfera. ABSTRACT: The relationship between art and philosophy is examined based on the notion of Stimmung, which appears in eighteenth-century music theory as a proportional relationship between tones or instruments; it was then incorporated into aesthetics at the end of the century in the works of Kant and Fichte. In Kant's works, Stimmung refers to the capacity of the faculties of knowledge for knowledge in general, that is, as a presupposition of aesthetic presentation through which the notion of proportion between the faculties is preserved. In his On the Spirit and the Letter in Philosophy, Fichte points out that the aesthetic disposition is the mode by which the aesthetic impulse acts out, connected freely and directly to the faculty of imagination and to the activity of creation. This aesthetic tradition is revisited by the historian Alois Riegl in 1899 in the essay Die Stimmung als Inhalt der moderne Kunst, where the concept of Stimmung is first presented from historical perspective as content of modern art in the sense of atmosphere, i.e., the experience of a relationship by which awareness, in accordance with immanent law, acquires certainty. A similar review was done by the young philosopher György Lukács in 1910 in Soul and Form, where the author conceptualizes the differences in meaning between the notions of Stimmung and Atmosphäre. (shrink)

Résumé Les arts libéraux tiennent un rôle particulier dans la pensée de Simon Stevin (1548-1620). Grâce à eux, ce savant peut dévoiler dans son épistémologie d’une part ce que sont les dispositions innées de l’esprit (distinguer le vrai du faux, parler, compter) et d’autre part les fondements des objets de la Nature (le nom, le nombre, la mesure et le poids). Un art de penser associe alors l’âme et la Création et permet de codifier les différents arts et l’action vertueuse. (...) Dans cet article, nous voulons montrer le rôle que jouent la dialectique et l’arithmétique dans l’art de penser de ce mathématicien et ingénieur flamand. Nous expliciterons alors les liens entre ces deux disciplines et la mise en place grâce à eux d’outils communs comme la proportion et la méthode dans la réalisation d’un projet encyclopédique. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Romanticism and Coleridge’s Idea of HistoryMichael John Kooy*Romantic historiography is widely understood in methodological terms as a subjectively determined treatment of the human past, according to which historical knowledge is grounded in imaginative activity. That ambition was amply fulfilled in Scott’s historical novels, as Georg Lukacs once demonstrated. 1 Writing in broader terms, Hayden White characterized that whole creative enterprise as an “effort at palingenesis,” the striving to recreate (...) or relive the past in individual consciousness. 2In more recent years, as the approach to the period has become more historicist, criticism has begun to separate the historical and the aesthetic aspects of this romantic sensibility, usually emphasizing one at the expense of the other. The result has been a standoff in critical thinking about the way Romanticism represents the past. One side is occupied by some new historicists who claim to find a precedent for their own methodology among prominent figures of the period. Heyne, Wordsworth, and Keats, it turns out, not only were engaged actively in their own contemporary history, but they also demonstrated in their sophisticated evocation of the past the impossibility of overcoming historical difference by reference to natural law. 3 Arguments advanced on the other side of the controversy insist that the Romantics were not nearly such good historicists as supposed. In these accounts, often allied to post-structuralism, the aesthetic absolutism implicit in the high romantic argument is undiminished by the burgeoning historical consciousness in the period. Indeed, Romanticism’s aesthetic [End Page 717] retrieval of the past appears to be an instance of how subjectivity, rather than admit its own historicity, again asserts mastery over the object through its own self-will. 4Each of these accounts commands a considerable following, and a peace between them seems unlikely, indeed undesirable. On one matter they do agree, though, and that is in their distrust of Coleridge. His historiography—the notion that ideas make history and that the way to get at these ideas is aesthetically—is too idealist for today’s historicists and too monumentally subjective for the post-structuralists. I think both judgments are hasty. Coleridge, more than most contemporaries, reflected for many years upon the difficulties that arose in his own attempts to interpret historical knowledge (which appeared as a subjective, aesthetic construct) in systematic terms (as the reflection of natural order); and a good look at the record will show that his thought is not quite so anti-historical as some believe, and his subjective approach not nearly so absolutist.The goal of this essay is to rehabilitate Coleridge’s idea of history, considering what it tells us about Romanticism and how it foreshadows current debates about methodology. 5 More specifically, I want to show how in different contexts Coleridge treats, with varying degrees of success, history as an ideational field that is both created and then interpreted by an inquiring subject. First, at the literary and cultural level, history is conceived as the object of imaginative reconstruction, where subjectivity provisionally orders the mass of material according to an idea found nowhere within history itself. Here the anti-positivist bias of Coleridge’s idealist historiography dominates a project that is, both in orientation and achievement, not so much cognitive as aesthetic. Secondly, at the level of religion, history is conceived in mythic terms, the past being revealed only symbolically to the discerning inquirer who must interpret the Christian mythos as recorded in the inspired biblical account of the nation of Israel. Here it is the application of certain interpretive or hermeneutic strategies that determines success or failure. Finally, as a single idea, history is conceived as the process of humanity seeking consciousness of itself, and this Coleridge expresses in a narrative of universal proportions, beginning in apostasy and ending in grace. Here teleology dominates, but as Coleridge discovers, this providential [End Page 718] history is a story that cannot be fully told, thought, or even, it turns out, imagined. It can only be postulated as an idea of reason or, in religious terminology, held as an article of faith. In a curious return to aesthetics Coleridge argues that for the grand historical narrative, just as for art... (shrink)

Cet article devait ouvrir l’ouvrage considérable des Écrits sur l’art de Leiris, établis et publiés par Pierre Vilar. En raison des proportions et des coûts de fabrication du livre, l’éditeur, Tiburce Poulet a supprimé in extremis toutes les illustrations qu’appelaient l’ouvrage. Les illustrations et cet article. On regrettera l’absence, dans un tel ouvrage, des illustrations. La Patte de chat est une de ces brèves préfaces – rédigée pour une exposition Masson à Genève, où toute la méthode de Leiris devant l’art (...) – avec ou sans majuscule – se condense : l’art comme nœud, lieu de la révélation et du trouble. (shrink)

We present a new formalism for the microscopic classical electrodynamics of point charges in which the dynamic absence of self-interactions is enforced by the action principle, without eliminating the field degrees of freedom. In this context, free local radiation fields are dynamically prohibited. Instead radiation is carried by charge-field functionals of the current which have a negative parity under mathematical time reversal. This leads to the dynamic requirement of a physical time arrow in the equations of motion in order to (...) preserve the overall mathphysical time-reversal symmetry of the formalism. Since this physical time arrow emerges electrodynamically without the need of external thermodynamic or cosmological criteria, it offers a dynamical explanation for the origin of irreversibility in classical electrodynamic measurement processes. “Science, like the arts, admits aesthetic criteria; it seeks theories that display ‘a proper conformity of the parts to one another and to the whole’ while still showing some strangeness in their proportion”—S. Chandrasekar. (shrink)

This paper describes a model of how musicians make decisions about performing notated music. The model builds on psychological theories of decision-making and was developed from empirical studies of Western art music performance that aimed to identify intuitive and deliberate processes of decision-making, a distinction consistent with dual-process theories of cognition. The model proposes that the proportion of intuitive (Type 1) and deliberate (Type 2) decision-making processes changes with increasing expertise and conceptualizes this change as movement along a continually (...) narrowing upward spiral where the primary axis signifies principal decision-making type and the vertical axis marks level of expertise. The model is intended to have implications for the development of expertise as described in two main phases. The first is movement from a primarily intuitive approach in the early stages of learning toward greater deliberation as analytical techniques are applied during practice. The second phase occurs as deliberate decisions gradually become automatic (procedural), increasing the role of intuitive processes. As a performer examines more issues or reconsiders decisions, the spiral motion toward the deliberate side and back to the intuitive is repeated indefinitely. With increasing expertise, the spiral tightens to signify greater control over decision type selection. The model draws on existing theories, particularly Evans’ (2011) Intervention Model of dual-process theories, Cognitive Continuum Theory Hammond et al. (1987), Hammond (2007), Baylor’s (2001) U-shaped model for the development of intuition by level of expertise. By theorizing how musical decision-making operates over time and with increasing expertise, this model could be used as a framework for future research in music performance studies and performance science more generally. (shrink)

Le mot 'goût' désigne non seulement le discernement et l'appréciation gustative des qualités des aliments et de la boisson, mais aussi le choix de ce qui, dans un milieu cultivé, est estimé comme étant 'de bon goût'. Ce qu'on appelle 'goût' chez les animaux est une forme du sens chimique, par laquelle l'animal remarque ce qui est comestible. C'est sur la base de cette fonction sensorielle que s'appuye le goût humain. Celui-ci se développe chez le jeune enfant dès qu'il apprend (...) à goûter, à prendre goût a quelque chose, et cela en conformité avec les préférences du milieu ambiant, références que peu à peu il adopte et fait siennes. La formation du goût comporte donc une relation permanente au milieu social ainsi qu'à la langue qui, dans la civilisation, précise tout discernement et toute appréciation. Le plaisir du goût qui juge de la qualité des aliments et des boissons a une valeur exemplaire pour toute relation à ce qui est éprouvé, apprécié et préféré d'une manière sensorielle. C'est cela qu'on dit être 'de bon goût'. Dans une société dont la civilisation et la prospérité sont en progrès, le bon goût exerce une fonction sociale. Mais cette fonction est différente de celle de l'art. Le beau à d'autres dimensions que ce qui est 'de bon goût'. Et dans le phénomène de la mode le bon goût semble pouvoir railler parfois le sens artitistique, sinon la civilisation elle-même. Le domaine du bon goût est comme un domaine intermédiaire et ambigu de la civilisation, où une nature humanisée et une humanité naturelle se fondent l'une dans l'autre. Ce domaine du goût prédominant confine d'une part au champ du besoin du boire et du manger en voie d'humanisation et d'autre part à l'espace illimité de l'art comme culture. Le goût, situé entre le sens naturel et le sens artistique, est la préfiguration du spirituel. Sa signification propre a trouvé son expression dans le langage à l'avènement de l'homo sapiens, cet être caractérisé par l'intelligence, le goût (sapor) de la mesure, de la proportion et de la valeur. (shrink)

The standpoint of this paper is the distinguished Ode to Sport from Pierre de Coubertin, specifically the second part of the elegy, the one concerning beauty. Starting with ?O Sport, you are Beauty!?, Pierre de Coubertin mentions, beyond beauty, an assemblage of aesthetic categories such as sublime, abject, balance, proportion, harmony, rhythm and grace. He also mentions strength, power and suppleness. Although the first quoted categories are general categories of aesthetics, it seems quite relevant to emphasize the need of (...) the author to introduce specific categories that fits to body movement and sport, such as strength, power and suppleness. There is no doubt that the first group of categories also fits to sport and body movement, but it equally fits to different forms of art, while strength, power and suppleness can only be literally applied to sport and performing arts. The purpose of this paper is to analyze strength as an aesthetic category of sport, developing three main arguments: the feeling of achievement and its conservation, the fight against gravity and the multiple forms of strength?s expression. It is concluded that strength can improve the communicative power of sport and its emotional appeal. In sports such as gymnastics, diving or synchronized swimming, the appreciation of strength exhibited by the athletes communicates to the observer some king of ease and lightness that enhances the aesthetic judgment. In other sports like weightlifting, sumo or rugby, effort and heaviness are stamped on the athlete's faces, what contributes to a sort of communion between the observer and the athlete that can also improve the aesthetic experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Their Father’s Library: Books Furnish Not Only a Room, But Also a Tradition ELIZABETH POWERS Although they shared close life dates and became famous in the same years for their epistolary novels, Johann Wolfgang von Goethe (1749–1832) and Fanny Burney (1752–1840) would seem to have been worlds apart literarily. (Goethe had in his Weimar library a copy of Evelina, while Burney was probably not ignorant of the Europe-wide (...) sensation The Sorrows ofYoung Werther.) What might be called their literary apprenticeship, however, was remarkably similar, consisting not of schooling in a traditional institution in which students (and, importantly, most eighteenth-century writers) were drilled in the classical curriculum, but, instead, from wide reading within the confines of their fathers’ libraries. It is true that Goethe and his younger sister Cornelia were supplied at home with a number of tutors and that their progress was monitored by their father, but their acquaintance with literature was fostered within the confines of the family home. Burney had no formal education at all. Indeed, on the appearance of Evelina, her father (according to her diary) remarked : “[S]he has had very little Education but what she has given herself,—less than any of the others!” Burney, however, had the advantage of growing up in a milieu in which books mattered. While the Goethes were eminently respectable, on the mother’s side part of what was the patriciate of the city of Frankfurt, the Burney household in London was bursting with wits and with what can only be called celebrities. The Burneys knew God and the world: David Garrick, Dr. Johnarion 28.1 spring/summer 2020 116 in their father’s library son, Hester Thrale. As Virginia Woolf noted of the famous father, Dr. Charles Burney, he was a musician “who could talk of intellectual things and ask clever people to his house.” Goethe has given plenty of evidence of roaming freely among his father’s books, a collection of 1,700 calfskin-bound volumes. When Burney went to serve at the court of King George III, Queen Charlotte was disappointed at how few books the author of Evelina possessed. (Similarities accumulate: Goethe also served at court, as minister in the duchy of Weimar.) But why cart around a load of books? As Burney wrote in her diary: “[M]y Father’s most delightful Library, as I then told her [the Queen], with my free access to it, had made [owning my own books] a thing unnecessary... ” Libraries in the eighteenth and early nineteenth century, whether private or public affairs, were not like contemporary public libraries, catering to a wide array of tastes, but were repositories of what Matthew Arnold termed “the best that is known and thought in the world.” Let’s call it the Western intellectual and cultural heritage. Most respectable homes would possess at a minimum a Bible, while the holdings in private homes, as evident in the library of Goethe’s father, could reach astounding proportions. According to Burney biographer Claire Harman, Fanny’s brother left at his death one of the finest private libraries of the age. Moreover, the antiquity of the works in the venerable libraries scattered across Europe from Dublin to Saint Petersburg, and especially their survival despite centuries of vicissitudes, was testimony to the authoritative nature of the transmission. Anyone who took the Bible in hand, who took lessons from it, adhering, for instance, to the injunctions of the Ten Commandments, was conscious of subscribing to values shared by preceding generations. Literary practitioners, also showing obeisance to authoritative predecessors, followed earlier models, in the process contributing to an evolving literary heritage. There was no purity in this transmission. It was truly promiscuous, but its quasi-biological character, like a mother’s left-handedness in a child, can be seen in the family Elizabeth Powers 117 resemblances among writers of different eras. Just as individuals perpetuate traits of their parents, so literature and the other arts recycled features of artistic predecessors. Writers as diverse in background and language and religion as Ariosto and Milton transmitted the dna, so to speak, of such epical forebears as Homer and Virgil. This sort of family legitimacy was... (shrink)

The basis of Islamic alchemy and matter theory is found in the works of Jābir ibn Ḥayyān (d. 200/815). Jābir developed an element theory similar to Aristotle’s system. Still, he interpreted matter and substance differently by transferring the basis of the theory from elements to qualities. In Jābir’s system, qualities are more often expressed by the term “natures” (ṭabā’iʻ). In Jābir’s thought, four na- tures precede the four elements, and due to the combination of two different natures with the sub- (...) stance each time, four distinct elements with different qualities occur. In Jābir, the “primary bodies” of the natural world are no longer the four Empedoclean elements but the “four natures”; air, water, earth, and fire are made up of these natures. Thus, Jābir gave the four primary Aristotelian qualities the role of genuine elements by making them tangible, independent, and corporeal entities. According to Jābir, the operation of transforming (transmutation) of ajsād (‘bodies’) such as iron, copper, tin, and lead, which is the primary purpose of the Art of alchemy, into silver and gold is carried out within the framework of the science of mīzān. The core of this transformation is based on an idea of causality in which the four natures and their specific proportions and measures are at the center. With the idea of causality that allows chemical transformation, Jābir also succeeded in extending the possibility of transformation in alchemy from the inorganic world to the organic world to an extensive range of entities. This study will discuss Jābir’s thoughts on body, substance, and experimental causality by ex- amining Jābir’s corpus through primary sources. (shrink)