Which kind of methodology should political philosophy endorse to jointly meet its theoretical and practical commitments? Virtuous Imbalance: Political Philosophy between Desirability and Feasibility assesses three paradigmatic cases to explore and explain political philosophy's attempts to answer this important question. Rawls's realistic utopianism, Machiavelli's realism, and Plato's utopianism are examined and explored as Francesca Pasquali presents the proper methodology political philosophy should endorse when attempting to attain equilibrium between the practical and the theoretical. These models are investigated with reference to desirability and feasibility; the former concerning the adequacy of normative principles, the latter the practical possibility of enacting them. Both realism and utopianism are shown to perform important and relevant functions with utopianism providing the criteria for judging political practices and realism developing principles for orienting political actors' conduct. An innovative version of realistic utopianism develops, avoiding the shortfalls detected in previous formulations whilst presenting a methodological strategy that enables political philosophy to play a proper public role, without dismissing theoretical concerns.
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Which kind of methodology should political philosophy endorse to jointly meet its theoretical and practical commitments? Virtuous Imbalance: Political Philosophy between Desirability and Feasibility assesses three paradigmatic cases to explore and explain political philosophy's attempts to answer this important question. Rawls's realistic utopianism, Machiavelli's realism, and Plato's utopianism are examined and explored as Francesca Pasquali presents the proper methodology political philosophy should endorse when attempting to attain equilibrium between the practical and the theoretical. These models are investigated with reference to desirability and feasibility; the former concerning the adequacy of normative principles, the latter the practical possibility of enacting them. Both realism and utopianism are shown to perform important and relevant functions with utopianism providing the criteria for judging political practices and realism developing principles for orienting political actors' conduct. An innovative version of realistic utopianism develops, avoiding the shortfalls detected in previous formulations whilst presenting a methodological strategy that enables political philosophy to play a proper public role, without dismissing theoretical concerns.
This book explores social cohesion in rural settlements in western Europe from 700–1050, asking to what extent settlements, or districts, constituted units of social organisation. It focuses on the interactions, interconnections and networks of people who lived side by side – neighbours. Drawing evidence from most of the current western European countries, the book plots and interrogates the very different practices of this wide range of regions in a systematically comparative framework. It considers the variety of local responses to the supra-local agents of landlords and rulers and the impact, such as it was, of those agents on the small-scale residential group. It also assesses the impact on local societies of the values, instructions and demands of the wider literate world of Christianity, as delivered by local priests.
Fabrizio Garrone is an impoverished but aristocratic translator who has been living a life of quiet desperation in Milan. He feels underappreciated and tormented by a persistent sense of having been cheated by life. But when he reads about a lost Viennese novel — The House on Moon Lake — in the journals of a late esteemed literary critic, he dreams that this project will put him on the cultural and literary map, and finally bring him the accolades that have eluded him. Fabrizio journeys to Vienna, tracks down the book, and translates it, and in so doing embarks on a nightmarish search for the truth behind the events depicted in it, as well as for clues about the tragic life of its forgotten author. When asked to write a short biography of the novelist, Fabrizio must invent details missing from the last three years of his subject’s life. The resulting biography is a publishing phenomenon. But the repercussions for Fabrizio are profound: he becomes the willing victim of a person he had thought to be fictional.
A founding father of the “art of philology,” Aristarchus of Samothrace (216–144 BCE) made a profound contribution to ancient scholarship. In his study of Homer’s Iliad, his methods and principles inevitably informed, even reshaped, his edition of the epic. This systematic study places Aristarchus and his fragments preserved in the Iliadic scholia, or marginal annotations, in the context and cultural environment of his own time. Francesca Schironi presents a more robust picture of Aristarchus as a scholar than anyone has offered previously. Based on her analysis of over 4,300 fragments from his commentary on the Iliad, she reconstructs Aristarchus’ methodology and its relationship to earlier scholarship, especially Aristotelian poetics. Schironi departs from the standard commentary on individual fragments, and instead organizes them by topic to produce a rigorous scholarly examination of how Aristarchus worked. Combining the accuracy and detail of traditional philology with a big-picture study of recurrent patterns and methodological trends across Aristarchus’ work, this volume offers a new approach to scholarship in Alexandrian and classical philology. It will be the go-to reference book on this topic for many years to come, and will usher in a new way of addressing the highly technical work of ancient scholars without losing philological accuracy. This book will be valuable to classicists and philologists interested in Homer and Homeric criticism in antiquity, Hellenistic scholarship, and ancient literary criticism.
Fabrizio Garrone is an impoverished but aristocratic translator who has been living a life of quiet desperation in Milan. He feels underappreciated and tormented by a persistent sense of having been cheated by life. But when he reads about a lost Viennese novel — The House on Moon Lake — in the journals of a late esteemed literary critic, he dreams that this project will put him on the cultural and literary map, and finally bring him the accolades that have eluded him. Fabrizio journeys to Vienna, tracks down the book, and translates it, and in so doing embarks on a nightmarish search for the truth behind the events depicted in it, as well as for clues about the tragic life of its forgotten author. When asked to write a short biography of the novelist, Fabrizio must invent details missing from the last three years of his subject’s life. The resulting biography is a publishing phenomenon. But the repercussions for Fabrizio are profound: he becomes the willing victim of a person he had thought to be fictional.
The Appian Way was the first great artery from Rome to southern Italy and the model for all roads originating in the ancient capital. Conceived by Appius Claudius in 312 B.C., the thoroughfare provided easy access to Capua, the most important junction in southern Italy, and facilitated Roman expansion into the southern peninsula. Paved in black basalt, the road was flanked by level pedestrian footpaths and bordered by tombs, villas, and pleasant rest and refreshment areas along its 365 miles, which could be walked in thirteen to fourteen days. The Ancient Appian Way provides an engaging account of the Appian Way's origins and historical context. The structure of this lavishly illustrated book mirrors the traveler's route south from Rome, making it an ideal guide to the legendary road for all those with an interest in exploring ancient Rome.
The papers collected in this volume deal with the explorations of Science Fiction, Fantasy and, more generally, the representation of otherness through the narrative construction of fantastic, imaginary, appalling or attractive places, stories and figures. Contributions are arranged in four main sections. The first section (Other spaces, new worlds) deals with Hindi and Arabic Science Fiction. The second section (Constructing forms of otherness) analyses the narrative and psychological mechanisms that give forms to a stereotype or archetypical image of the threatening Other. The third section ((Re)shaping style(s), language(s) and discourse(s) of otherness) is centred on the idea of language as a tool to build up styles, genres and texts, and literature as an escape from disappointing history and a cross-cultural wandering space of narrative ghosts. The fourth section (Circulating fearful otherness) tests the limits and heuristic potential of a philological approach in reconstructing the wide circulation of motifs and characters from antiquity to (post-)modernity.
This book focuses on urbanization and state formation in middle Tyrrhenian Italy during the first millennium BC by analyzing settlement organization and territorial patterns in Rome and Latium vetus from the Bronze Age to the Archaic Era. In contrast with the traditional diffusionist view, which holds that the idea of the city was introduced to the West via Greek and Phoenician colonists from the more developed Near East, this book demonstrates important local developments towards higher complexity, dating to at least the beginning of the Early Iron Age, if not earlier. By adopting a multidisciplinary and multi-theoretical framework, this book overcomes the old debate between exogenous and endogenous by suggesting a network approach that sees Mediterranean urbanization as the product of reciprocal catalyzing actions.
This book reconstructs the late Anglo-Saxon history of the church of Worcester, covering the period between Bishops Waerferth and Wulfstan II. Starting with an examination of the episcopal succession and the relations between bishops and cathedral community, the volume moves on to consider the development of the church of Worcester's landed estate, its extent and its organization. These are analysed in connection with the very significant measures taken in the eleventh century to preserve - and sometimes manipulate - the memory of past land transactions. Of paramount importance among such measures was the production of two cartularies - Liber Wigorniensis and Hemming's cartulary - respectively compiled at the beginning and at the very end of the eleventh century. Last but not least, the volume considers ecclesiastical organization and pastoral care in the diocese of Worcester, by looking at the relations between the cathedral church and the other churches in the diocese. Special attention is given to the payment of church dues and to such aspects of pastoral care as preaching, penance and visitation of the sick. Thanks to the combined analysis of these areas, the book offers a detailed picture of the main occupations (and preoccupations) of the late Anglo-Saxon church of Worcester in its interaction with society at large: from its tenants to its faithful, from the clergy in its diocese to its opponents in land disputes.
[The Shadow Drawing] reorients our perspective, distills a life and brings it into focus—the very work of revision and refining that its subject loved best." —Parul Sehgal, The New York Times | Editors' Choice An entirely new account of Leonardo the artist and Leonardo the scientist, and why they were one and the same man Leonardo da Vinci has long been celebrated for his consummate genius. He was the painter who gave us the Mona Lisa and The Last Supper, and the inventor who anticipated the advent of airplanes, hot air balloons, and other technological marvels. But what was the connection between Leonardo the painter and Leonardo the scientist? Historians of Renaissance art have long supposed that Leonardo became increasingly interested in science as he grew older and turned his insatiable curiosity in new directions. They have argued that there are, in effect, two Leonardos—an artist and an inventor. In this pathbreaking new interpretation, the art historian Francesca Fiorani offers a different view. Taking a fresh look at Leonardo’s celebrated but challenging notebooks, as well as other sources, Fiorani argues that Leonardo became familiar with advanced thinking about human vision when he was still an apprentice in a Florence studio—and used his understanding of optical science to develop and perfect his painting techniques. For Leonardo, the task of the painter was to capture the interior life of a human subject, to paint the soul. And even at the outset of his career, he believed that mastering the scientific study of light, shadow, and the atmosphere was essential to doing so. Eventually, he set down these ideas in a book—A Treatise on Painting—that he considered his greatest achievement, though it would be disfigured, ignored, and lost in subsequent centuries. Ranging from the teeming streets of Florence to the most delicate brushstrokes on the surface of the Mona Lisa, The Shadow Drawing vividly reconstructs Leonardo’s life while teaching us to look anew at his greatest paintings. The result is both stirring biography and a bold reconsideration of how the Renaissance understood science and art—and of what was lost when that understanding was forgotten.
This book is based partly on a. lecture course given at the University of Tri este, but mostly on my own research experience in the field of galactic chemical evolution. The subject of galactic chemical evolution was started and developed by Beat rice Tinsley in the seventies and now is a flourishing subject. This book is dedi cated to the chemical evolution of our Galaxy and aims at giving an up-to-date review of what we have learned since Tinsley's pioneering efforts. At the time of writing, in fact, books of this kind were not available with the exception of the excellent book by Bernard Pagel on "Nucleosynthesis and Chemical Evolution of Galaxies" (Cambridge University Press, 1997), and the subject of galactic chem ical evolution has appeared only as short chapters in books devoted to other subjects. Therefore, I felt that a book of this kind could be useful. The book summarizes the observational facts which allow us to reconstruct the chemical history of our Galaxy, in particular the abundances in stars and in terstellar medium; in the last decade, a great deal of observational work, mostly abundance determinations in stars in the solar vicinity, has shed light on the pro duction and distribution of chemical elements. Even more recently more abun dance data have accumulated for external galaxies at both low and high redshift, thus providing precious information on the chemical evolution of different types of galaxies and on the early stages of galaxy evolution.
Taking a new approach to the study of cross-cultural trade, this book blends archival research with historical narrative and economic analysis to understand how the Sephardic Jews of Livorno, Tuscany, traded in regions near and far in the seventeenth and eighteenth centuries. Francesca Trivellato tests assumptions about ethnic and religious trading diasporas and networks of exchange and trust. Her extensive research in international archives--including a vast cache of merchants' letters written between 1704 and 1746--reveals a more nuanced view of the business relations between Jews and non-Jews across the Mediterranean, Atlantic Europe, and the Indian Ocean than ever before. The book argues that cross-cultural trade was predicated on and generated familiarity among strangers, but could coexist easily with religious prejudice. It analyzes instances in which business cooperation among coreligionists and between strangers relied on language, customary norms, and social networks more than the progressive rise of state and legal institutions.
Aby Warburg (1896-1929) was the scion of M. M. Warburg & CO the German Jewish banking empire. At thirteen, he made a pact with the youngest brother, by which he granted his birthright in exchange for the promise that the sibling would purchase for him every book he would desire. It is thus that the famous Warburg Library was born. During a long trip in Italy, as a young man, Warburg falls in love with Italian Renaissance and starts to accumulate all related texts. Once back home, in Hamburg, he further develops the nucleus of the library with volumes concerning unique and original disciplines, from Magic to Astrology, from Alchemy to Primitive Civilizations. Placed in a newly built, perfectly round library Warburg organizes the order of the volumes following his theory of "migration of symbols". Thanks to this visionary and revolutionary approach, the History of Art acquires a new dimension and a new tool of interpretation, through what would ultimately be called Iconology. With the explosion of the First World War, Warburg's mental equilibrium collapses and he is hospitalized in a Swiss psychiatric institution where he will remain for more than ten years. It is from here, that the fascinating narrative of Francesca Cernia Slovin starts, looking back at Aby's life in a compelling reconstruction as a flash back. The second part of the book continues when Warburg's disciple, Fritz Saxl, takes his place as director of what had become the famous Warburg Institute. After Aby's death, with the rise of Hitler, the Nazis threaten to burn down the library. On the night of December 12, 1933, with the help of a few assistants, Saxl with an heroic effort transported the entire library of over a hundred thousand volumes onto two small steamships and flees to London. Thanks to these few brave men and the hospitality of Lord Courtauld, today the Warburg Institute is a holy place of pilgrimage for every Art historian. With more than three hundred thousand titles and two hundred thousand periodicals the library contains forty percent of items missing at the British Library.
Stagecrafting the City -- Florence, Opera, and Technological Modernity -- Funeral Entrainments -- Errico Petrella's Jone and the Band -- Global Voices -- Adelina Patti, Multilingualism, and Bel Canto (as) Listening -- "Ito per Ferrovia" -- Opera Productions on the Tracks -- Aida, Media, and Temporal Politics circa 1871-72.
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