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1
Bauckham, Richard. "Is “High Human Christology” Sufficient? A Critical Response to J. R. Daniel Kirk's A Man Attested by God." Bulletin for Biblical Research 27, no. 4 (January 2017): 503–25. http://dx.doi.org/10.5325/bullbiblrese.27.4.0503.
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Abstract J. R. Daniel Kirk's book A Man Attested by God argues that the Christology of the Synoptic Gospels should be understood as “high human Christology,” placing Jesus within a category of “idealized human figures” who, in Jewish literature, are “identified with God.” He claims to refute my argument for “divine identity Christology,” but in fact he badly misunderstands it, as his constant use of the vague term identified with God (which I do not use of Jesus) shows. My claim is that Jesus is “included in the unique identity of God” because he rules the whole universe from the cosmic throne of God above the heavens, the throne on which, in Jewish literature, no one but God sits. Other human figures, such as the kings of Israel, share in God's rule only in the sense that, as servants of God, they exercise a limited sphere of authority on earth. The article goes on to discuss Matthew's Christology in particular, showing that Kirk's category “idealized human figure” cannot do justice to major features of Matthew's Gospel that indicate Jesus's inclusion within the unique divine identity.
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Collins, John J. "The Son of Man in First-Century Judaism." New Testament Studies 38, no. 3 (July 1992): 448–66. http://dx.doi.org/10.1017/s0028688500021846.
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For much of this century the notion of aMenschensohn, or Son of Man figure, loomed large in scholarly reconstructions of Jewish eschatological expectations in the time of Jesus. The primary Jewish attestation of this figure was found, of course, in Dan 7.13, with complementary appearances in theSimilitudes of Enochand 4 Ezra 13. There was considerable diversity of opinion about the origin and precise nature of this figure. More imaginative scholars, like Sigmund Mowinckel, held that ‘Conceptions of a more or less divine Primordial Man were widespread in the ancient east. Apparently there is a historical connexion between the varying figures of this type, which seem to be derived, directly or indirectly, from Iranian or Indo-Iranian myths.’1The Jewish conception of ‘the Son of Man’ was ‘a Jewish variant of this oriental, cosmological, eschatological myth of Anthropos’,2influenced by a syncretistic fusion of Iranian and Mesopotamian concepts. At the least, the phrase ‘Son of Man’ was thought to be a well-known, readily recognizable title for a messiah of a heavenly type, in contrast to the national, earthly, Davidic messiah. As recently as 1974 Norman Perrin could claim that all the recent studies of the ‘Son of Man Problem’ he had reviewed agreed on one point: ‘there existed in ancient Judaism a defined concept of the apocalyptic Son of Man, the concept of a heavenly redeemer figure whose coming to earth as judge would be a feature of the drama of the End time.’
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Küçük, Hülya. "From his Mother Nūr al-Anṣāriyya to his Šayḫ Fāṭima bt. Ibn al-Muṯannā: Important Female Figures around Muḥyī l-Dīn b. al-ʿArabī (d. 638/1240)." Arabica 59, no. 6 (2012): 685–708. http://dx.doi.org/10.1163/157005812x618961.
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Abstract Muḥyī l-Dīn b. al-ʿArabī (d. 638/1240), well known for his favorable views on woman, is of the idea that there is a very strict love-bond in the God, man and woman trinity: God created Adam/man in His own image, and created woman on Adam/man’s image. Thus, God is the waṭan (country of origin) of Adam, and in turn Adam is the waṭan of woman. His mother Nūr al-Anṣāriyya, his wife Maryam and his daughter Zaynab should be regarded as the immediate important women around him. As he believed that man and woman were equal in everything, he followed both female and male šayḫs. Ibn al-ʿArabī’s esteemed female šayḫs include Fāṭima bt. Ibn al-Muṯannā, about whom he used the term “Divine mother;” Šams Umm al-Fuqarāʾ, and Faḫr al-Nisāʾ bt. Rustam, a scholar and the šayḫ of Ḥiğāz.
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Bassi, Karen. "The Ancient Dancer in the Modern World: Responses to Greek and Roman Dance edited by Fiona Macintosh; Modernism's Mythic Pose: Gender, Genre, Solo Performance by Carrie J. Preston." Dance Research Journal 45, no. 1 (April 2013): 111–17. http://dx.doi.org/10.1017/s0149767712000356.
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Perhaps the best-known dancer from Greek antiquity is Hippocleides, who was a suitor for the hand of the daughter of Cleisthenes, the tyrant of Sicyon in the sixth century BCE. According to Herodotus, Hippocleides was “the most outstanding man in Athens for his wealth and good looks,” and Cleisthenes preferred him for his son-in-law “because of his courage” (or “manly virtue,” andragathiê) and because he was related to the Cypselidae of Corinth (Histories 6.127–8). On the day Cleisthenes was to make his decision, however, things took a wrong turn (Histories 6.129.2–4; trans. Waterfield 1998): After the meal, the suitors competed with one another at singing and at public speaking. As the drinking progressed, Hippocleides had a clear lead over the others, but then he told the pipe-player to strike up a tune, and when the musician did so he began to dance (orchêsato). Now, although Hippocleides liked his own dancing a lot, Cleisthenes was beginning to look on the whole business askance. After a while, Hippocleides stopped momentarily and asked for a table to be brought in. When the table arrived there, he first danced a Laconian dance on it, then some Attic figures, and finally stood on his head on the table and waggled his feet around. Hippocleides' uninhibited dancing of the first and second sets of figures had already put Cleisthenes off having him as a son-in-law, but he kept silent because he did not want to scold him. When he saw him making hand gestures with his legs (echeironomêse), however, he could no longer restrain himself. “Son of Tisander,” he said, “you have danced away (aporchêsao) your marriage.” The young man replied, “Hippocleides doesn't care! And that is how the proverb arose.
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Ndifon, Etta Julius. "Figures of Reality: Vision and Imagery in Niyi Osundare’s Poetry." African Journal of Social Sciences and Humanities Research 5, no. 5 (December 28, 2022): 139–52. http://dx.doi.org/10.52589/ajsshr-420lqdd4.
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The international stature and renown of Niyi Osundare as a poet is due in part to the fact that his restless creative impetus is engaged with the existential predicament of the common man, and partly also because of his reliance on imagery as a veritable artistic form for the definition and exploration of his themes. This paper examines Osundare’s poetic imagery from the standpoint of its imaginative and thematic values. It argues that Osundare’s imagery not only embodies the poet’s vision of his society, but is also central to his technique. The paper also examines the themes that have generally exercised Osundare’s image-making faculty, and how he uses imagery to amplify or illustrate those themes.
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Syska, Katarzyna. "Condemned to victory. The novel Star Man by Aleksander Prokhanov." Świat i Słowo 35, no. 2 (November 26, 2020): 137–53. http://dx.doi.org/10.5604/01.3001.0014.5469.
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Alexander Prokhanov is one of the most significant figures in the patriotic-conservative circles in Russia. What makes him extraordinary is his versatility – he is a political activist, journalist, media personality and a writer. The idea of special historical destiny of Russia is a constant component of his political views which have a strong mystical background. The novel Star Man is a typical example of the literary expansion of his political concepts by referring to the poetics of myth.
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Hariyanto, Hariyanto, and Fibriana Anjaryati. "Character Building: Telaah Pemikiran Ibnu Miskawaih tentang Pendidikan Karakter." Jurnal Pendidikan Islam Indonesia 1, no. 1 (October 2, 2016): 111–18. http://dx.doi.org/10.35316/jpii.v1i1.41.
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One of the figures of the Islamic philosopher that concern to talk about morals is Ibn Maskawaih. He is known in the world of philosophy as a man who became the center of attention of the Islamic-authors. In addition, he is also known as a great poet, physician, historian, and chemist. The shift of learner values, the changes of behavior, the character and pattern of teacher and student interaction becomes important to refer back to Ibn Maskawaihs’ thinking about how to make morality as the basis of mental development and behavior
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Ellis, Richard S. "The trouble with “Hairies”." Iraq 57 (1995): 159–65. http://dx.doi.org/10.1017/s0021088900003053.
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Of all figures seen in Mesopotamian art, the naked or kilted human male figure with curls of hair on either side of his face is one of the most familiar. A form of this figure was portrayed already in the Jemdet Nasr period; he became common in Early Dynastic III, and particularly in the Akkadian period, after which he was less popular, though he was revived from time to time, probably until Achaemenid times. Since the early identification with Gilgamesh has been abandoned, he has been referred to by many names: the “six-locked hero”, “wild man”, “naked hero”, or whatever. Long ago Erich Ebeling cited evidence that his Akkadian name was talīmu, the “twin”. F. A. M. Wiggermann, in his article “Exit talim!”, and later in his valuable book Mesopotamian Protective Spirits, has argued that this familiar figure was instead referred to in Akkadian, at least in the first millennium B.C., as laḫmu, the “hairy one”, the “Hairy”. This identification has been accepted by numerous other scholars.Wiggermann presents the following evidence for his identification (listed from the most general to the most specific, rather than in Wiggermann's own order):1. Lexical evidence to show that the root lḫm means “to be hairy”, and that the noun laḫmu means “the hairy one”.2. Various citations of the noun laḫmu that in general are consistent with the identification.3. A very specific association of the term and the image in the Neo-Assyrian texts which prescribe the preparing of figurines to be buried in houses and palaces for protection against evil spirits. This evidence is the same as was used by Ebeling for his identification of the “wild man” as talīmu, which Wiggermann wishes to discredit.
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Joost-Gaugier, Christiane L. "Ptolemy and Strabo and Their Conversation with Appelles and Protogenes: Cosmography and Painting in Raphael's School of Athens." Renaissance Quarterly 51, no. 3 (1998): 761–87. http://dx.doi.org/10.2307/2901745.
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AbstractThis paper studies the group of men on the lower right side of Raphael's School of Athens. While the portrayal of Euclid is undisputed, the figures who are attached to him have not yet been firmly identified. In studying these figures as part of the intellectual fabric of the painting as a whole, it becomes clear that each of these figures has a meaningful role that cannot be deduced by mere guessing. The figure with his back to us is quite clearly the great mathematician-cosmographer Ptolemy of Alexandria. Not only because he wears a particular crown, but more importantly because the globe he holds is terrestrial - a symbol of his scientific contribution to the humanist curriculum - can we be certain of his presence. The man who faces him is most likely Strabo, the most famous geographer known throughout medieval times and one who was also appreciated by humanists, especially for his consideration of the sphere and the celestial aspects of the universe in his Geography. Both Ptolemy and Strabo are well placed next to Euclid, for both are concerned with geometry. The two men to the far right are, it is suggested here, two famous painters of Greek antiquity, Apelles (in the guise of Raphael) and Protogenes (in the guise of Timoteo Viti?), whose presence reflects the interests of artists in the early Cinquecento. All these heroes are appropriately placed on Aristotle's side of the painting.
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Domenighini, Sara. "EURIPIDE: MISOGINIA O GINOFOBIA?." Revista Internacional de Culturas y Literaturas, no. 16 (2015): 86–95. http://dx.doi.org/10.12795/ricl.2015.i16.05.
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Ripercorrendo le origini della civiltà, è If we go back to the origins of civilization, possibile identificare un momento storico in we find an historic moment characterized by cui la società era matriarcale. Analizzando matriarchal society. Through the analysis of le figure femminili presenti nelle tragedie di the feminine figures of Euripides’ tragedies, Euripide, possiamo comprendere il timore we can understand he fears a hypothetic che prova l’autore di un ipotetico ritorno return to woman’s predominance on man al predominio della donna sull’uomo e and we can interpret his reasons. Moreover, interpretarne le ragioni. Euripide, poi, si serve Euripides makes use of catharsis to prevent della catarsi per scongiurare tale eventualità. this possibility.
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Romanowicz, Tomasz. "Peregrynacja dziadowska w powojennym kinie polskim. Studium postaci." Pleograf. Historyczno-Filmowy Kwartalnik Filmoteki Narodowej 27, no. 2 (June 20, 2022): 1–15. http://dx.doi.org/10.56351/pleograf.2022.2.02.
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The subject of the article is a study of the wandering beggar in selected pictures of Polish post-war cinema. A poor wanderer, a beggar, classified in the social structure of the former village as a „loose man” and at the very bottom of the rural hierarchy, aroused respect combined with superstitious fascination. As a non-obvious figure and characteristic of a traditional Polish village, he aroused the interest of filmmakers. The roles of rural wanderers, interesting and important for the plot, appeared in outstanding movies: Jańcio Wodnik (1993) by Jan Jakub Kolski, Konopielka (1981) by Witold Leszczyński and Znachor (1982) by Jerzy Hoffman. In the films analyzed, the beggar in episodic roles played the role of a prophet announcing fundamental changes in the life of the village, or a man who, by casting a curse, influenced the lives of the characters in the movie. In the film by Jan Jakub Kolski, he also turned out to be a witness to the metamorphosis of the main character. Importantly, the magical and moral features ascribed to itinerant beggars are also possessed by Jańcio and Stygma, the central figures of Jan Jakub Kolski’s Jańcio Wodnik. From the gallery of „beggar” characters, the most trivially treated figure was the wandering worker Rafał Wilczur, alias Antoni Kosiba in Znachor, whose metamorphosis consisted only in crossing class barriers. In conclusion, the figure of the wandering beggar turned out to be so psychologically complex that it became interesting for Polish directors.
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Gilfoyle, Timothy J. "Staging the Criminal: In the Tenderloin, Freak Drama, and the Criminal Celebrity." Prospects 30 (October 2005): 285–307. http://dx.doi.org/10.1017/s0361233300002052.
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Standing on Centre Street in Lower Manhattan in the fall of 1894, the pickpocket and confidence man George Appo felt at tap on his shoulder. “Hello! You are just the fellow I want to see,” announced the criminal attorney and former pugilist Edmund E. Price. “What are you doing now?” Unbeknownst to Appo, he was about to make history.The ex-convict admitted that he was looking for work. Price quickly made a proposal. In addition to representing some of New York's leading underworld figures — indeed Appo was a former client — Price envisioned himself as a playwright and songwriter. He had recently authored a melodrama based on the 1885 murder of confidence man Theodore “The” Davis. After attempting to swindle several thousand dollars from Texas sheriff James T. Holland, Davis was shot dead by the angry Texan. The case attracted national attention, in part because it exposed the national scope of the green goods game, arguably the most profitable con game in the 19th-century United States. Despite the daily media attention, Holland remained silent for five months until he testified on his own behalf. Price not only defended Holland; he engineered his acquittal.
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Christy, Imaniar Yordan, and Yosep Bambang Margono. "Peran Ideologis Tokoh Parang Jati dalam Penyelamatan Kawasan Karst Sewugunung pada Novel Bilangan Fu Karya Ayu Utami Kajian Ekofeminisme." TRANSFORMATIKA: JURNAL BAHASA, SASTRA, DAN PENGAJARANNYA 2, no. 2 (December 10, 2018): 103. http://dx.doi.org/10.31002/transformatika.v2i2.885.
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<p>This study aims to analyze feminist ideology and thoughts about the ecofeminism of Parang Jati characters, the role of thinking and the realization of the ecofeminism that Parang Jati did in rescuing the Sewugunung karst area, as well as the impact of the understanding of ecofeminism carried out by Parang Jati to save the Sewugunung karst area in the novel Bilangan Fu. The research method used is descriptive analysis method with qualitative research. The result of the ideological analysis of the Parang Jati character is that the Parang Jati figure is a figure who has a critical attitude and thinking towards patriarchy although he was born with male gender so that later on he becomes a feminist man. The results of the ecofeminism analysis of the Parang Jati character in rescuing the Sewugunung karst area from mining are Parang Jati formulates three cultural strategies namely: (1) making Sewugunung a Protected Area category I a; (2) changing people's ideas on nature conservation through art performances and dialogues; and (3) making Sewugunung a Protected Area category III. The results of the impact analysis of the realization of the ecofeminism of Parang Jati figures are: (1) The Government reviews proposals to make the area under conservation; (2) The company does not extend the security forces; and (3) changes in the attitudes of the figures to become more concerned with nature and do not commit violence against humans, especially women.</p>
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Musabegović, Senadin. "The Power of Technique and the Absence of Man in a Photographic Picture." Društvene i humanističke studije (Online) 6, no. 4(17) (December 22, 2021): 141–68. http://dx.doi.org/10.51558/2490-3647.2021.6.4.141.
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The text problematizes the connection between art and the power of technology. The question arises: how can photography as an art, created as a technical invention, respond to the challenges of technical power, which manifests itself as an unconditional desire for domination that knows no limits? The esthetician from Sarajevo, Sadudin Musabegović, understood the very power of photographic representation precisely through the figures of division: mimesis - poiesis - techne. Martin Heidegger's opinion on technique is connected with the figure offered by Musabegović. Sadudin Musabegović's aesthetic thought provides possible answers to the question: how is a man present in photography itself when the famous film critic Andre Bazin said that photography is the only art we enjoy because of an absence of a human? And what role does art play in overcoming the crisis established by technology in the modern world? In the 'age of mass reproduction', art itself has lost its aura, as Walter Benjamin states, and Musabegović adds that even the photographed being has lost its aura. The problem of losing the aura can also be understood as a new beginning, as a ‘new source’ for art itself. But for the source itself, Musabegović says that he finds himself in the flow, that he is always outside himself, he is in the intertwining, permeation that manifests itself in a dynamic, reversible, and moving figure: mimetic activity – making techne – productive poiesis. This text aims not only to explain the meaning of this figure, which Musabegović established originally within aesthetics, and especially in the field of photography and film, but also to analyze its meaning in the context of unmasking the logic of modern technical control, which marked a modern way of living, thinking, and perceiving the world.
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Stead, Gavin Alistair, Ben Warner, Jennifer Clough, Effie Lanaspre, and John O’Donohue. "An unusual cause of intestinal failure." Frontline Gastroenterology 10, no. 1 (June 28, 2018): 56. http://dx.doi.org/10.1136/flgastro-2018-100996.
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A 62-year-old man presented to the emergency department with 5 weeks of worsening lower abdominal pain associated with watery diarrhoea, vomiting and 10% loss of body weight. He had recently experienced night blindness.There was no history of foreign travel. His past medical history included hypertension, sickle cell trait and type 2 diabetes well controlled on metformin. He had not been prescribed any recent steroids and denied significant alcohol intake.On examination, he had a tachycardia at 110 bpm and was afebrile and normotensive. He was malnourished with pedal pitting oedema extending to both knees. His abdomen was soft but distended and diffusely tender.Blood tests showed a serum albumin of 12 g/L. Stool samples were negative. HIV testing was negative, and immunoglobulin levels were normal.CT of the abdomen showed thickened, hyperenhancing jejunal loops with diffuse mesenteric inflammatory fat stranding and enlarged mesenteric lymph nodes. Colonoscopy was unremarkable.Enteroscopy showed granular oedematous mucosa and extensive, deep ulcerations. Jejunal biopsies were obtained. Microscopy samples were negative for tuberculosis (TB) culture.Histology revealed inflamed and ulcerated small bowel mucosa with plump endothelial cells with the appearance below. There were no granulomata (figures 1 and 2). Figure 1Endoscopic examination of the jejunum.Figure 2Plump endothelial cells seen on microscopy.QuestionWhat is the differential diagnosis?
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Syamsuri, Syamsuri. "SEJARAH DAKWAH DI LEMBAH PALU." Al-Mishbah | Jurnal Ilmu Dakwah dan Komunikasi 11, no. 1 (July 7, 2017): 1. http://dx.doi.org/10.24239/al-mishbah.vol11.iss1.50.
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There are three phases of the spread and development of Islam in Palu: mythological, ideological and scientific phases. In this paper, the figures of these three phases will be discussed. At this phase, the approach of Muslim scholars (ulama is to show natural symbols in spreading and teaching Islam. Spiritual power becomes a key of the success of ulama. There are three ulama who play a role in a mythological phase, Abdullah Raqi "Datuk Karama", a son of Minangkabau coming to Palu in 1650. He was followed by Pue Imbatu "Syekh Lokiya", a native Muslim scholar, and then followed by Daeng Konda "Pue Bulangisi", a noble man who is popular with his teaching "karaeng". This teaching refers to a leading figure Syekh Yusuf Tuanta Salamaka Tajul Khalwati, a national hero of South Africa and Indonesia
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Lukan, Blaž. "In search of lose wholeness: Phenomenological digression on Jernej Lorenci’s theatre." Maska 30, no. 175 (November 1, 2015): 26–43. http://dx.doi.org/10.1386/maska.30.175-176.26_1.
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The article discusses the characteristics of the theatre of director Jernej Lorenci from his directing of The Oresteia (2009) to The Illiad (2015). It defines Lorenci’s break with his former poetics in the directing of The Oresteia, and finds the new condensation of his directing procedures in The Iliad. In the discussed theatre period, Lorenci seeks the possible lapses, soft slips, the play of the alleged that only constitute the true reality, and is not interested in a well-made play. In his shows, Lorenci believes the man rather than the world; in fact, he acknowledges the world only insofar as it is reflected in the man and is projected out of him. His understanding of the man and his humanity perhaps compares to Agamben’s conception of the man as a being who is infinitely missing himself. The paper illustrates the mentioned thesis by analysing two of Lorenci’s figures from The Iliad.
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Sholihan, Sholihan. "Al-Hikmah Al-Muta‘Âliyyah Pemikiran Metafisika Eksistensialistik Mulla Shadra." Ulumuna 14, no. 1 (June 30, 2010): 21–38. http://dx.doi.org/10.20414/ujis.v14i1.226.
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Among the meritorious figures that develop the illuminative thought initiated by Suhrawardi is Shadr al-Dîn al-Shirazi, also known as Mulla Sadra. He is well known with his thought of al-Hikmah al-Muta'âliyyah or transcendent theosophy, an effort of harmonizing revelation, gnosis, and philosophy. He inflame an idea where the logic buried in the sea of light gnosis. He called the synthesis—one that he considered to be the particular basis of three major paths to truth for man, namely: revelation (wahy or shar'), intellection ('aql), and mystical vission (Kashf)—as al-Hikmah al-Muta‘âliyyah or transcendent theosophy. He has managed to make synthesis between deductive method of the Peripatetic, method of illumination, method of the odyssey of ‘irfân or Sufism, and method of Kalam. When his thought is compared with existentialistic thought of West, then there is a point of similarities among them not only in terms of technical language, but also in substantive matters.
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Borowski, Andrzej. "Kapłan i kapłaństwo w kręgu tematów literackich." Ruch Biblijny i Liturgiczny 63, no. 3 (September 30, 2010): 249. http://dx.doi.org/10.21906/rbl.175.
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Priests were present in world literature from its beginning as a closely linked literary and religious culture. Priests were the first writers. Sacred and secular texts show priests as an intermediary between god and man, especially in the act of sacrifice. Sometimes he is a personification of certain religious, moral and political issues. Catholic priests are sometimes depicted as followers of Christ and servants of the servants of God. They may be heroic figures, reflecting life for God and people, or practical, close to people in their daily lives with a sense of humor. A priest serves as a moral authority, although he is not devoid of human weaknesses and shortcomings, with tolerance condemned in the satirical songs.
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Churga, Yu. "THE INFLUENCE OF ANTHROPOCENTRISM ON THE WORK OF ARTISTS OF THE HIGH RENAISSANCE." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 148 (2021): 71–74. http://dx.doi.org/10.17721/1728-2640.2021.148.12.
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The article describes a number of factors that influenced the work of artists of the High Renaissance, in particular the philosophical thought of this period and changes in the worldview of people of this era. The article focuses on the origins of anthropocentrism in the intellectual sphere. The author outlines how Italy became the center of new ideas and the center of their implementation. This article was conducted to explore the impact of the philosophy of anthropocentrism on the work of Italian artists (their goals, means and evolution of the concept of "artist"). In conclusion, we can observe how interest in human nature grows, and that corporeality is not only the outer shell of man, which limits it. Artists of this period tend to realism and do not abandon the image of man and discover a new aesthetic in it. At the beginning of the 15th century the artist saw his role and believed that he was serving nature, which would teach him everything he wanted, with enough effort, patience and resources. The artist proudly demonstrates his skills in depicting animals, plants, figures, beautiful robes and landscapes, he is no longer a modest executor of someone else's will.
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Thumser, Jean-Daniel. "L’animalité et l’anomalité comme figures-limites de la phénoménologie." Phänomenologische Forschungen 2019, no. 1 (2019): 191–208. http://dx.doi.org/10.28937/1000108312.
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The purpose of the article is to show how the questions of anomality and animality belong together in phenomenology. The figure of the human animal serves as the guideline of the study, namely the figure of a person who is not considered as similar to myself in the frame of a Husserlian characterization of normality. Husserl’s thinking is analyzed with respect to the problem of an intersubjective co-constitution of a common world. It is shown that Husserl only accepts animality and anomality within the restrictive perspective of a so-called normal humanity, that of the adult man, healthy, reasonable and European. However, he constantly strives to include the anomality and animality into humanity as well, an intention that distinguishes him from Heidegger. Heidegger radicalized the question with respect to race, which serves him as a guideline for thinking the very own of the human being. Defending a thinking of exclusion, Heidegger refuses to animals as well as to anomals all right of citizenship in the community of human beings. The article ends by proposing to overcome this duality between an inclusive thinking and an exclusive thinking
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Moran, Joe. "The Author as a Brand Name: American Literary Figures and the Time Cover Story." Journal of American Studies 29, no. 3 (December 1995): 349–63. http://dx.doi.org/10.1017/s0021875800022416.
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When Time magazine profiled him in March 1964, John Cheever wrote an entry in his journal which imagined his daughter Susan's thoughts:After they put Daddy's picture on the cover of Time, he seemed to lose something… I don't mean like Dorian Gray or anything but like a savage who thinks that if he is photographed he will have lost part of his image. A man came up to the house … and painted a picture of Daddy. It was painted in a definite style, a magazine cover style, and Daddy seemed to get himself mixed up with all the kings and presidents and so forth who had been on the cover before him. I mean he seemed in some way locked into the cover, fixed there, impressed on the paper. Once I lost my temper at him and said I don't think anybody's impressed by the fact that you had your face on Time magazine … They have all kinds of people; broken down ball players and crooks. It hurt his feelings, you could see.Cheever's words give some suggestion both of the importance authors attached to the Time cover story, which at the peak of the magazine's influence was widely perceived as the apotheosis of American fame, and of their confusion over what it actually signified. This essay aims to explore this ambivalence by investigating the ways in which Time featured novelists, poets and playwrights as the subjects of its cover stories in the period from the magazine's first issue in 1923 to the late 1960s and early 1970s, when it began to lose some of its status as “the National Poet Laureate.” Time owed this status to its position as champion of the “middlebrow,” being designed “for the lady from Dubuque … and for the President of the United States” and combining commercial success with semi-institutional legitimacy.
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Beech, Nicholas. "Demolition figures: the appearance and expression of the topman and mattockman in LCC contracts, 1941–1951." Architectural Research Quarterly 16, no. 3 (September 2012): 245–52. http://dx.doi.org/10.1017/s1359135513000092.
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The Rescue man was not only working on the incident, he became a part of it […] he was the vaguely apprehended shape which suddenly appeared from the surrounding chaos as a human being […].This paper explores a very particular form of building activity: demolition work. My aim is to show that the peculiarities of demolition work challenge how construction history contends with certain ontological and epistemological problematics. In the first instance, I am concerned with how the historical activity of demolition produces subjects which are held in distinct social relationships and material processes. In the second instance, I am concerned with how knowledge is produced in those relationships and processes, and further how knowledge of those relationships and processes might be made historically available. These questions are developed through an examination of archival material related to the clearance of the South Bank in the late 1940s in preparation for the Festival of Britain Exhibition and the Royal Festival Hall. The archived contracts are shown to have a specific status and effect for such an enquiry.
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Guenther, Lisa. "Who Follows Whom? Derrida, Animals and Women." Derrida Today 2, no. 2 (November 2009): 151–65. http://dx.doi.org/10.3366/e1754850009000499.
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In ‘L'Animal que donc je suis’, Derrida analyzes the paradoxical use of discourses on shame and original sin to justify the human domination of other animals. In the absence of any absolute criterion for distinguishing between humans and other animals, human faultiness becomes a sign of our exclusive capacity for self-consciousness, freedom and awareness of mortality. While Derrida's argument is compelling, he neglects to explore the connection between the human domination of animals and the male domination of women. Throughout ‘L'Animal’, Derrida equivocates between ‘man’ and ‘humanity,’ and between the biblical figures of Ish and Adam. In so doing, he repeats a gesture that he himself has insightfully criticized in other philosophers, such as Levinas. By articulating the distinctions that Derrida elides, I suggest a way of reading Genesis which avoids this difficulty, but also continues Derrida's project.
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Shepard, Jonathan. "A suspected source of Scylitzes’ Synopsis Historion: the great Catacalon Cecaumenus." Byzantine and Modern Greek Studies 16 (1992): 171–81. http://dx.doi.org/10.1017/s030701310000759x.
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*‘Catacalon Cecaumenus’ is no longer a well-known name. In 1924 he was the subject of a study by N. Bänescu, and some years later Georgina Buckler proposed that he was the author of the so-called Strategicon, whose author’s surname was Cecaumenus. But the latter view no longer enjoys much support from scholars, and less attention has been paid recently to Catacalon. A symptom of his new-found obscurity is the fact that in the index of the 1973 edition of John Scylitzes’ Synopsis Historion he is cut into two persons, both called Catacalon Cecaumenus. One of these persons is represented as being slain at the battle of Diacene in 1049, while the other figures exclusively during the reign of Michael VI. In fact, the index errs. The two sets of references denote one and the same man.
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Waley-Cohen, Joanna. "Commemorating War in Eighteenth-Century China." Modern Asian Studies 30, no. 4 (October 1996): 869–99. http://dx.doi.org/10.1017/s0026749x00016826.
Full textAbstract:
Reviewing his long reign in 1792, the Qianlong Emperor (r. 1736–1795) hailed his military triumphs as one of its central accomplishments. To underscore the importance he ascribed to these successes, he began to style himself ‘Old Man of the Ten Complete Victories’ (Shi Quan Lao Ren), after an essay in which he boldly declared he had surpassed, in ‘Ten Complete Military Victories’ (Shi Quan Wu Gong), the far-reaching westward expansions of the great Han (206 BCE–220 CE) and Tang (618–907) empires. Such an assertion, together with the program of commemoration discussed below, served to justify the immense expense incurred by frequent long-distance campaigning; to elevate all these wars to an unimpeachable level of splendor even though some were distinctly less glorious than others; and to align the Manchu Qing dynasty (16–191 i) with two of the greatest native dynasties of Chinese history and the Qianlong Emperor personally with some of the great figures of the past.
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Polakiewicz, Leonard A. "Syncretism and Personification in Anton Chekhov's The Steppe." Canadian-American Slavic Studies 44, no. 3 (2010): 316–41. http://dx.doi.org/10.1163/221023910x532901.
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AbstractIn his most famous early work, The Steppe, Anton Chekhov makes extensive use of diverse sensory phenomena including color, sounds, smell, taste and touch. In addition to syncretism, he uses the device of personification which serves to vivify the steppe, makes us feel closer to it, to understand it, to sympathize with it and to be in communion with it. Various other devices help draw up parallels between steppe and human existence and establish a symbiotic relationship between nature and man. The article examines how, using these devices, the author succeeded in achieving a common tone and conveying a sense of beauty and mystery of the steppe. The article shows that the accumulation of sense impressions of various kinds and their attribution to both the human figures and the surrounding environment alike creates a syncretic world in which everything is intertwined with everything else: man is in the world and the world in man.
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Hutson, Lorna. "Civility and Virility in Ben Jonson." Representations 78, no. 1 (2002): 1–27. http://dx.doi.org/10.1525/rep.2002.78.1.1.
Full textAbstract:
THE EUROPEAN RENAISSANCE SAW the rise of a phenomenon known as ''civil conversation,'' according to which the arena of informal speech became significant for men's social advancement. At the same time, however, Renaissance literature inherited from the classics an evaluative language that denounced loquacity as effeminate. Hutson's article uses Ben Jonson's writings to explore the tension between the prescriptions of ''virile style'' and the social reality for men of ''civil conversation.'' The tension manifests itself, she argues, in the expanded sense of personal liability inherent in the notion of informal speech as a significant site of advancement in the age of ''note-taking'' and the commonplace book. She shows how the note-taking habit blurs the line between circulating speech for aesthetic purposes and for purposes of espionage. She discusses certain pervasive classical figures and ideas - such as the ''mindful drinking companion'' and the Plutarchan idea of internalizing and preempting hostile judgments of one's words by imagining oneself as one's own enemy. She notes that Jonson reworks these figures and ideas to produce a heroic notion of a ''civil conversationalist'' who is also ''virile'' in that he can resist being effeminized bythe circulation of hostile or ignorant interpretations of his words; he can resist, in other words, being transformed into the feminine figure of Rumor. The article concludes with a reading of Jonson's Every Man in His Humour as a play concerned to articulate a new, heroic ''civil virility'' as the ability to resist hostile constructions of informal speech.
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Brouwer, Rein. "‘I might be wrong’." Ecclesial Practices 6, no. 1 (May 15, 2019): 102–19. http://dx.doi.org/10.1163/22144471-00601008.
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For about ten years (1998-2008), Kester Brewin was one of the principal instigators of the Vaux community, a ‘vehicle for exploring radical theological thought and practice’. From these experiences and events, he wrote The Complex Christ: Signs of Emergence in the Urban Church (2004). Since then he moved on as a blogger, columnist, tedx-er, and writer. In 2016 he published Getting High: A Savage Journey to the Heart of the Dream of Flight with Vaux Publishing. Getting High is a fascinating reflection on an era dominated by the flight of technology (from the 1960s on), substituting for the eternal longing for the ultimate. But it is also a moving introspection into Brewin’s own life. Being the son of a preacher man, he was getting high on evangelical ecstasy as a young adult, before he became one of the influential figures in the emerging church movement. He ended up, however, ‘outside of what would be taken as orthodox belief.’ This paper discusses Kester Brewin’s ‘piratic’ thoughts on the church, based on his books, blogs, and columns. How did his ‘theological’ thinking evolve, and what does it mean for ecclesiology?
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Baker, John H. "Gospel Truth? Howard Brenton's Paul and the Bible." New Theatre Quarterly 23, no. 3 (August 2007): 264–71. http://dx.doi.org/10.1017/s0266464x07000164.
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In his play Paul, first staged at the National Theatre in 2005, Howard Brenton attempted a dramatic portrayal of one of the most influential and controversial figures in human history, the man many regard as the ‘founder’ of Christianity. In this article John Baker explores the complex relationship between Brenton's Paul and his Biblical counterpart, and asks what drew an avowed atheist and socialist to a dramatic consideration of a religious leader often condemned as authoritarian, anti-Semitic and misogynistic. John Baker was awarded his PhD by the University of Manchester in 1999. He currently teaches English Literature at the University of Westminster.
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Rock, David. "Argentina Under Mitre: Porteño Liberalism in the 1860s." Americas 56, no. 1 (July 1999): 31–63. http://dx.doi.org/10.2307/1008442.
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A historian, soldier, diplomat, journalist, poet, translator, and politician, Bartolomé Mitre (1821-1906) stood out among the most renowned figures of late nineteenth century Latin America. “He is a full handsome man,” declared one of his many European admirers in 1861, “of very eloquent appearance with a fine forehead and thoughtful face. He is a poet and a scholar, and looks altogether too refined and gentlemanly to be mixed up with the dirty doings of second-rate politicians.” Forty years later, Carlos Pellegrini, a former president of Argentina and one of Mitre's leading political opponents, described him as “the most powerful caudillo of our time” who possessed “an aura of personal valor that he imposed on the multitude.” To an American hagiographer writing in the 1940s, Mitre was a “poet in action,” and a “heart in unison with his time and his country.… In the unification of his country, Mitre displayed the astuteness of a Cavour and the ardency of a Garibaldi.”
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Salo, Unto. "Agricola's Ukko in the light of archaeology: a chronological and interpretative study of ancient Finnish religion." Scripta Instituti Donneriani Aboensis 13 (January 1, 1990): 92–190. http://dx.doi.org/10.30674/scripta.67175.
Full textAbstract:
No written sources of ancient Finnish religion have been preserved from the pre-Christian period. Study of the subject is thus based on later historical data, folk poetry and other recorded national traditions, supplemented by etymology and onomastics. A valuable basis for study is provided by the verses of Mikael Agricola in the preface to his Psalms of David from 1551. Here Agricola lists the gods of Karelia and Häme. He admittedly subjects them to Christian censure, but he is also in these verses the first systematizer and the first theologian of our ancient religion. He created twin Olympuses of the old religion, two anthropomorphic god-worlds, the sub-structure of which includes the worship of spirits, animals and the dead. From the point of view of archaeology, Agricola's Ukko, 'old man', is one of the most interesting figures in ancient religion. According to Agricola, Ukko was (only) a Karelian god, but scholars have long considered that he was referring to the universally feared Ukko, Ukkonen, the god of thunder, who would have fitted equally well among the gods of Häme (Tavastland).
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Ross, Reuben Connolly. "The Photographer Photographed: A Conversation with Jean Mohr." Imaginations Journal of Cross-Cultural Image Studies/revue d études interculturelle de l image 13, no. 2 (October 30, 2022): 23–45. http://dx.doi.org/10.17742/image.tp.13.2.2.
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The Swiss photographer Jean Mohr, who died in November 2018 at the age of 93, is well known for his long career documenting the plight of the displaced and dispossessed. Especially noteworthy are his collaborations with major intellectual figures, through which he experimented with the construction of visual narratives. His celebrated books with John Berger include *A Fortunate Man*, an intimate portrait of an English country doctor, and *A Seventh Man*, a meditation on migrant labour in 1970s Europe; with Edward Said, he published *After the Last Sky*, a reflection on Palestinian life through the fusion of text and photography. Partially based on a short interview conducted with Mohr in early 2018, this paper reflects on his life and work, taking the reader on a journey mediated by our conversation. In particular, I explore the development of his unique approach to photography and the experimental construction of visual narratives. In so doing, I argue that Mohr’s work offers social scientists, particularly those engaged in studying processes of migration or zones of conflict, ways of constructing more effective, more engaged, and more experiential accounts of complex social realities.
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Brockopp, Jonathan. "CONTRADICTORY EVIDENCE AND THE EXEMPLARY SCHOLAR: THE LIVES OF SAHNUN B. SAʿ ID (D. 854)." International Journal of Middle East Studies 43, no. 1 (January 24, 2011): 115–32. http://dx.doi.org/10.1017/s0020743810001224.
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AbstractWhen writing biographies of historical figures, narrative convention requires that concision and clarity be wrested from sources that are multiple and often confusing. In this article, I argue that multiple accounts of a person's life may be more than an accident arising from the way that information was compiled. Rather, such multiplicity renders exemplary figures adaptable to a wide variety of circumstances, making them even more useful as a focus of devotion and emulation. Examining multiple accounts of early Maliki scholar Sahnun b. Saʿ id (d. 854), including those of his travels in search of knowledge and of his suffering under the miḥna (trial) in Kairouan, I find that close attention to apparently contradictory evidence may not get us any closer to understanding the man himself, but it does offer us much information about the ways in which he was considered an exemplary individual.
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Robinson, John, and Alan H. Welsh. "Peter Gavin Hall 1951–2016." Historical Records of Australian Science 28, no. 2 (2017): 171. http://dx.doi.org/10.1071/hr17009.
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Peter Hall, in the forty years of his research career, produced work in both probability and statistics, whose breadth and depth must be regarded as phenomenal. He displayed extraordinary technical skills together with remarkable intuition in developing and applying multifaceted mathematical approaches in the whole of his work. The impact of this wide-ranging use of powerful mathematical methods has had a profound effect on much of modern mathematical statistics. After completing his DPhil at Oxford, he remained in Australia for almost all his career although he was renowned as one of the major international figures in probability and statistics. Peter was a mentor to a large group of post-graduate students and post-doctoral colleagues giving encouragement and guidance and he attracted many research visitors contributing greatly to the whole of Australian statistical research. Remarkably, given his immense research output, he took a significant role in both editorial duties in major international journals and in advocacy for mathematics and statistics in Australia. Peter was a man of great charm whose modest demeanour belied his staggering abilities. His loss to mathematics and statistics is great, but is matched by the personal loss to us and to his many friends.
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Robinson, John, and Alan H. Welsh. "Corrigendum to: Peter Gavin Hall 1951–2016." Historical Records of Australian Science 28, no. 2 (2017): 202. http://dx.doi.org/10.1071/hr17009_co.
Full textAbstract:
Peter Hall, in the forty years of his research career, produced work in both probability and statistics, whose breadth and depth must be regarded as phenomenal. He displayed extraordinary technical skills together with remarkable intuition in developing and applying multifaceted mathematical approaches in the whole of his work. The impact of this wide-ranging use of powerful mathematical methods has had a profound effect on much of modern mathematical statistics. After completing his DPhil at Oxford, he remained in Australia for almost all his career although he was renowned as one of the major international figures in probability and statistics. Peter was a mentor to a large group of post-graduate students and post-doctoral colleagues giving encouragement and guidance and he attracted many research visitors contributing greatly to the whole of Australian statistical research. Remarkably, given his immense research output, he took a significant role in both editorial duties in major international journals and in advocacy for mathematics and statistics in Australia. Peter was a man of great charm whose modest demeanour belied his staggering abilities. His loss to mathematics and statistics is great, but is matched by the personal loss to us and to his many friends.
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Hanfi, Muneer Ahmed, Dr Liaqaut Ali Sani, and Muhammad Akram Rakhshani. "براہوئی حروف تہجی و املا نا وئیل آک." Al-Burz 9, no. 1 (January 15, 2021): 103–17. http://dx.doi.org/10.54781/abz.v9i1.88.
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Man created language for his necessities and God gifted him with the ability of listening, speaking and perceiving with the help of speech and auditory organs. Resultantly, he created the language (a noble act) because of which God rewarded him with the honor of being 'supreme creature. but when we study the structure of language, two things are significant: the first and foremost is the natural thing with which he shares his intense feelings to his fellow beings, and second is the literature which enlightens the next generations and helps the language reach its destinations. The cause is same with the Brahui Language .it is an ancient language. Its literary era starts from 709 AC. it evolves from Heroghalefi manuscript to Roman, Khat- e-Nask, Sindhi, Afghani and Persian. Since the alphabets of Brahui language are unacceptable, its literature faces a great deal of difficulties in its text. for example, there is a huge difficulty of dictation, for Brahui literary figures failed to structure, specify, or get its alphabet accepted. so different literary figures use different 'Brahui Phonetic Alphabets' which is deteriorating the question of dictation. So it is not easy to solve the conundrum of dictation here.
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Storey, Benjamin. "Rousseau and the Problem of Self-Knowledge." Review of Politics 71, no. 2 (2009): 251–74. http://dx.doi.org/10.1017/s0034670509000333.
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AbstractFrom the beginning of his career in the First Discourse to its end in the Reveries of the Solitary Walker, Rousseau makes clear that the problem of self-knowledge is a central problem—perhaps the central problem—that his thought seeks to address. This essay studies Rousseau's thought in the light of that problem. I argue that attention to the problem of self-knowledge is essential to understanding the rank order of Rousseau's five major human types—the citizen, natural man, the bourgeois, Emile, and Jean-Jacques. I further argue that self-knowledge remains stubbornly problematic even for Rousseau's most exemplary figures—the solitary walker of the Reveries and Emile. The persistence of the problem of self-knowledge in Rousseau's thought makes it clear that he was more concerned with presenting a comprehensive depiction of human problems than he was with teaching us how to solve them.
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Turley, David. "David Low and America, 1936–1950." Journal of American Studies 21, no. 2 (August 1987): 183–205. http://dx.doi.org/10.1017/s0021875800029169.
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Few figures are more rapidly forgotten than dead journalists, except perhaps dead cartoonists. Yet the graphic work of Sir David Low (1891–1963) has not entirely slipped from memory. He is recalled as the inventor of the contradictory certainties of Colonel Blimp and as a scourge of appeasement. Particularly in the years immediately before, during and after the Second World War he achieved an international reputation. He was not perceived, and did not see himself, as a “funny man” but as a commentator on and analyst of international politics. His cartooning he presented as a form of argument to educate opinion in defence of liberal values and democratic institutions and in favour of rational conduct in international affairs. For these reasons his graphic and print journalism are revealing about the strengths and limitations of the outlook which might be termed “liberal internationalism.” Precisely because of this ideological content the United States became crucial in Low's thought at a time when liberal values and democratic institutions seemed under imminent threat and American capacity to accede to or refuse the role of “successor to John Bull” more apparent.
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Błaszczyk, Cezary. "Liberalizm Thomasa Paine’a." Przegląd Prawa i Administracji 105 (January 27, 2017): 11–39. http://dx.doi.org/10.19195/0137-1134.105.1.
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THE LIBERALISM OF THOMAS PAINEThomas Paine was undoubtedly one of the most important figures of his times. The untiring liberal and democrat may be considered as the restless spirit of the Enlightenment, arguing for a revolution and freedom both in Europe and America. His main works are „The Rights of Man”, „First Principles of Government”, „The Agrarian Justice” and the most famous and influential — „Common Sense”. Even though he did not form a comprehensive political doctrine he appealed both to the British and French liberal traditions, he is to be considered as a great liberal ideologist. Paine believed in sovereign and independent men, who under the principle of self-government can establish the best government possible. The state was the necessity, since mankind was prone to sin; however, it was to be constructed according to the civil contract as the least burdensome and in compliance with the rights of men both natural and civil, as a true republic. Moreover, it was only rational, argued Paine, to abandon unequal division of estates and trade protectionism, to allow for universal welfare and peace.
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Pollock, A. V., and Mary Evans. "Bias and Fraud in Medical Research: A Review." Journal of the Royal Society of Medicine 78, no. 11 (November 1985): 937–40. http://dx.doi.org/10.1177/014107688507801113.
Full textAbstract:
‘If a man will begin with certainties, he shall end in doubts; but if he will be content to begin with doubts, he shall end in certainties' (Bacon 1605). Four centuries later, one of the greatest of contemporary philosophers — Sir Karl Popper — has consistently maintained that knowledge advances by refutation of false doctrines and not by verification of true ones (which, indeed, can never be completely verified). ‘Error is unavoidable; it can be rational, and when responsibly made and honestly reported, is not even culpable’ (Laor 1985). The desire to verify an hypothesis rather than to seek to refute it can be responsible for the suppression of deviant data. There is a fine distinction between bias, which may afflict honest investigators, and fraud, which is always dishonest. Even a true statement can be tainted by bias, and Ronald Fisher concluded that Mendel's published figures on the genetics of peas were so close to the expected ratio of 3:1 that it would have taken ‘an absolute miracle of chance’ to produce them (Hamblin 1981).
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Yulanda, Atika. "MENELAAH PEMIKIRAN HUMANISME IBNU MISKAWAIH DAN IMPLEMENTASINYA TERHADAP PENDIDIKAN DI INDONESIA." JURNAL AL-AQIDAH 13, no. 2 (December 31, 2021): 186–99. http://dx.doi.org/10.15548/ja.v13i2.3393.
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AbstractHumanism as a thought in the field of philosophy assesses humans as having a high position compared to other God's creatures. Humans are social creatures who need and adapt to each other. This study describes the Humanism thought of Ibn Miskawaih (330 H/941 AD). He is one of the leading Islamic philosophers whose thoughts are very influential on the thoughts of later figures, especially moral philosophy, so he is often referred to as the father of moral philosophy. This research is a qualitative research using descriptive analysis method. Humanism of Ibn Miskawaih views humans as intelligent beings or creatures who have been awarded by God the potential of reason so that they have the freedom to determine which choices are good and bad. Man lives together and he refuses to live alone or ascetic. Humanism in Ibn Miskawaih's thought is in line with education in Indonesia. To become a perfect human being must be accompanied by good training and education. Education is very important to train the potential that exists in the human person.
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Arthur, Paul. "The Anglo-Irish Joint Declaration: Towards a Lasting Peace?" Government and Opposition 29, no. 2 (April 1, 1994): 218–30. http://dx.doi.org/10.1111/j.1477-7053.1994.tb01252.x.
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‘Cometh The Hour, Cometh The Man’ . . . in This Case two men, in the unlikely figures of the British Prime Minister, John Major, and the Irish Taoiseach, Albert Reynolds. Neither is a charismatic personality and each presides over a government with more than its fair share of problems. Yet with one leap they have agreed on an issue which removes them from the mundane realities of domestic politics and offers them a place in the sun. Already the Irish Council of the European Movement has awarded Mr Reynolds (alongside the SDLP leader, John Hume ) its ‘Man of the Year’ award. Can a Nobel Peace Prize be far behind? The Prime Minister has not been slow to exploit the huge potential in the peace process. He informed the Commons on the day that the Joint Declaration was signed, 15 December 1993, that when he met the Taoiseach at Downing Street ‘two years ago, we both agreed on the need to work together to try to bring about peace in Northern Ireland and in the Republic . . . we both knew that, after 25 years of killing, we had to make it a personal priority both to seek a permanent end to violence and to establish the basis for a comprehensive and lasting political settlement’.
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Robinson, John, and Alan H. Welsh. "Peter Gavin Hall. 20 November 1951—9 January 2016." Biographical Memoirs of Fellows of the Royal Society 64 (January 31, 2018): 207–29. http://dx.doi.org/10.1098/rsbm.2017.0035.
Full textAbstract:
In the 40 years of his research career, Peter Hall produced work in both probability and statistics, the breadth and depth of which must be regarded as phenomenal. He displayed extraordinary technical skills together with remarkable intuition in developing and applying multifaceted mathematical approaches in the whole of his work. The impact of this wide-ranging use of powerful mathematical methods has had a profound effect on much of modern mathematical statistics. After completing his DPhil at Oxford, he remained in Australia for almost all of his career although he was renowned as one of the major international figures in probability and statistics. Peter was a mentor to a large group of postgraduate students and post-doctoral colleagues, giving encouragement and guidance, and he attracted many research visitors, contributing greatly to the whole of Australian statistical research. Remarkably, given his immense research output, he took a significant role both in editorial duties in major international journals and in advocacy for mathematics and statistics in Australia. Peter was a man of great charm whose modest demeanour belied his staggering abilities. His loss to mathematics and statistics is great, but is matched by the personal loss to us and to his many friends.
45
Baldwin, Olive, and Thelma Wilson. "Getting and spending in London and Yorkshire: a young musician’s account book for 1799–1800." Royal Musical Association Research Chronicle 51 (January 2020): 137–48. http://dx.doi.org/10.1017/rrc.2019.2.
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AbstractIn March 1799 John White was 20 years old and already an experienced professional violinist and cellist. He kept a detailed account book between March 1799 and March 1800 that provides much information about the economic and professional life of a young musician at the very end of the eighteenth century. White had showed early musical promise, and when he was 15 he attracted the patronage of the future Lord Harewood, who enabled him to take lessons from leading musical figures and appointed him as his director of music. White lived at Harewood House, near Leeds, but he spent some months of the London season each year with the Harewood family in their house in Hanover Square. The accounts show how White earned money in London by playing at private and public concerts and deputising at almost every place of musical entertainment in the capital. In Yorkshire he led orchestras in concerts and oratorio performances, took on pupils and visited Scarborough. White’s meticulous lists of his income and expenditure, from an expensive violin, a harp and harp lessons to silk stockings, waistcoats and hair ribbon, paint a fascinating picture of a young man making his way in the musical profession.
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Popa, Mircea-Ioan. "PROFESSOR MATEI BALȘ, THE CLINICIAN WHO HIGHLIGHTED THE IMPORTANCE OF THE CONNECTION BETWEEN THE CLINIC AND THE LABORATORY." Romanian Archives of Microbiology and Immunology 80, no. 3 (September 30, 2021): 278–85. http://dx.doi.org/10.54044/rami.2021.03.09.
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Providential personalities have been writing history since the beginning of times – personalities that could be found within and across Romania’s borders [1]. In medicine, such brilliant figures have healed patients through diligence, dedication, and professionalism, but have also passed significant teachings to the next generations. They have rigorously respected an authentic professor’s definition, a figure that teaches and prepares specialists for the future. The great medical personalities, Ion Cantacuzino and Victor Babeș, have been mentored by famous professors, have also become famous professors on their own, and they have educated doctors and professors who have carried on their research and medical teaching legacies. Through study, through diligence, and an impressive personal development, their students have also become proficient figures in medicine [1-2]. They have trained personalities in the medical field that could have reached higher peaks, were it not for the political and social climate of their country. Among those, now we shall bring into discussion professor Matei Balș, a remarkable man and teacher, whose contribution focused the necessity of employing strict and correct means of practice, tying together in an organic way the clinical and the laboratory work, a dogma which he has passed on to his students. He has funded the “School of Infectious Diseases” at Colentina Hospital and has formulated teachings that stand the test of time; his working approach is still appropriate and praised today. The current generation as well as future ones not only have the obligation to recognise the exceptional achievements of our ancestors in history, but to also keep them alive and develop upon them, in the interest of the Romanian people, Romania itself, but also for the public health system at an international level [1].
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Read1, Geoff. "He Is Depending on You: Militarism, Martyrdom, and the Appeal to Manliness in the Case of France’s ‘Croix de Feu’, 1931-1940." Journal of the Canadian Historical Association 16, no. 1 (May 7, 2007): 261–91. http://dx.doi.org/10.7202/015734ar.
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Abstract This article examines the masculine discourse of the Croix de Feu, France’s largest political formation in the late 1930s, against the examples of the republican conservative parties – the Fédération Républicaine, the Alliance Démocratique, and the Parti Démocrate Populaire – as well the Socialist and Communist left. The author argues, based on the François de La Rocque papers, the movement’s newspaper, Le Flambeau, the archives of key political figures, as well as the other parties’ presses, that while the Croix de Feu’s preferred masculinity was similar to that found on the republican right in many regards, the movement, borrowing heavily from the masculinist aesthetic of the far-left, was engaged in the construction of a fascist “new man.” He is Depending on You, therefore, maintains that the Croix de Feu was typically fascist in its masculine discourse, synthesizing social conservatism with a radical élan. Since the Croix de Feu was undeniably popular, with roughly 1,000,000 adherents by the late-1930s, fascism and the fascist new man were by no means marginal phenomena in French politics, culture, and society as some have argued.
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Kornacki, Krzysztof. "Tworzenie obrazu przeszłości w trylogii robotniczej Andrzeja Wajdy." Przestrzenie Teorii, no. 27 (December 15, 2017): 77–92. http://dx.doi.org/10.14746/pt.2017.27.8.
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Observing the process of the birth of Man of Marble – Man of Iron – Wałęsa. Man of Hope trilogy we can clearly see the author’s increasing tendency to render movie fiction real, in the sense that fiction should be treated as reality, as its equivalent. In the two first films in the trilogy, what is visible is the intensified blurring of the lines between fiction and reality, substituting what is fact with something concocted. What we can also see here is a tendency to boost the credibility of a fictional story, thanks to the use of conventions and documentary materials. Gradual changes made in the sphere of art were connected with the director’s public activities, in which he gradually crossed the boundaries not only of social, but also political praxis. Moreover, in creating the trilogy we can see a voluntaristic trend to perceive the past as the history of “great men” and to canonize the glorious image of history. All these tendencies were expressed in the latter work. Wajda completed this as a clear response to political moves by certain politicians and historians attacking Wałęsa. Preparing a movie about him, he approached verification of historical data with a single-minded attitude. Thus in this film we can observe “true fabrications”. Wałęsa pervades the story, and there is no room for other important figures in the historical process. Additionally, in order to create an imagined, idealistic image of Wałęsa (“Wałęsa 2.0”), the actor playing this role “expels him” from the archive material.
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VON GLAHN, DENISE, and MICHAEL BROYLES. "Musical Modernism Before It Began: Leo Ornstein and a Case for Revisionist History." Journal of the Society for American Music 1, no. 1 (February 2007): 29–55. http://dx.doi.org/10.1017/s1752196307070022.
Full textAbstract:
Musical modernism was born kicking and screaming in 1922 in New York, fathered by Edgard Varése and his International Composers' Guild; the French émigré saved the nation from its own backward-looking ways. Or so the story goes. But this reading ignores numerous and widespread musical activities that were well under way seven years prior to the founding of the ICG. As early as autumn 1914, members of Alfred Stieglitz's artistic circle, including Paul Rosenfeld and Waldo Frank as well as Claire Reis and A. Walter Kramer among others, were engaged in organized efforts to promote musical modernism, with Leo Ornstein as their front man. The initial result was a series of concerts in January, February, and March 1915 that Ornstein performed at the Bandbox Theatre; the programs consisted of entirely modernist music. These concerts catapulted Ornstein to fame, but he was not the isolated figure that he has been portrayed to be. Rosenfeld, Reis, and Kramer continued to promote both Ornstein and modernism with ideas for new societies, and Ornstein himself developed close ties not only to literary figures but also to artists, including Leon Kroll, William Zorach, and John Marin. Music, far from being isolated from other artistic efforts, was part of a burgeoning modernist scene that was securely in place by 1915, and Leo Ornstein was at its center.
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Granger, Herbert. "MetaphysicsZ.l1.1036b28: αἰσθητόν or αἰσθητικόν?" Classical Quarterly 50, no. 2 (December 2000): 415–23. http://dx.doi.org/10.1093/cq/50.2.415.
Full textAbstract:
MetaphysicsZ.ll has in recent years received considerable attention, because of its importance for the exposition of Aristotle's psychology, which for some time now has been an immensely popular topic among Aristotelian scholars. Z.ll has proved contentious, however, especially over its statement of Aristotle's criticism of Socrates the Younger, who was wont to make a certain ‘comparison’ in the case of animals. Virtually nothing is known about this Socrates the Younger, nor is it known exactly what ‘comparison’ he made with animals. But, as most interpreters suppose from the context of Z. 11, his comparison certainly had much in common with that made by ‘some', who argue that natural objects, like man, are comparable to geometrical figures, like the circle, with respect to their relationship to their matter (1036b7–12). Just as the physical matter of circles, such as bronze, stone, and the like, are no part of the essence of the circle, so too the physical matter of man—flesh and bones—is no part of the essence of man. This comparison may hold true, even if, unlike circles, man is in fact found only in a single sort of matter, because the case of man may be like the counterfactual case in which all circles happen to be made of bronze. The bronze would still not belong to the essence of the circle; it would just be difficult psychologically to separate circularity from bronze (1036a31-b7).