Permanence has been the dominant cosmological and social model throughout European history. This value model is founded on centralized control of power and truth, and potential success and prosperity for the individual human being is dependent upon acceptance and subordination. New development is strictly controlled and regulated. Successions of civilizations and empires have been based on this construction of being and the world. An almost diametrically opposite understanding of being was always present, however. In Heraclitus’ model of the world as (...) Change, humans are no longer passive and subordinate receivers but active change- and future-makers. Change is no longer seen as dangerous, but rather as the prime mover of the world and therefore, also the fountain of knowledge and insight. Change is the only eternal truth and value, Heraclitus argues. Thus, strategies for meaningful and productive action must also be eternally changing. This article discusses the views of Change propagated by Heraclitus and his most famous follower, Friedrich Nietzsche. It shows how a radical change of perspective and aim, a change from models aiming for Permanence to models with a much greater allowance for and appreciation of Change, can lead to explosions of human creativity and innovation. (shrink)

First published in 1948, Frederick Antal’s Florentine Painting and Its Social Background was an important milestone in anglophone art history. Based on European examples, including Max Dvořák, it sought to understand art history’s relationship to social and intellectual history. When Antal, a Hungarian émigré, arrived in Britain in 1933, he encountered an inward-looking discipline preoccupied with formalism and connoisseurship; or, as he phrased it, art historians of ‘the older persuasion’ ignorant of ‘the fruitful achievements of modern historical research’. Despite its (...) considerable scholarship and erudition, Antal’s book was not warmly received, largely because he had used historical materialism to understand the production of art and the development of styles. Antal’s class-based account of the social position of the artist and the role of the patron in determining the emergence of early Renaissance styles was especially controversial. However, although Marxist analysis was used to challenge the assumptions of Anglo art history, it was not Antal’s intention to weaken art history’s disciplinary autonomy. With historical materialism, he sought to place art history on a firmer historical footing. Most importantly, this approach was compatible with the discipline’s Central European tradition, where art-historical scholarship was framed by questions of method and based on broad historical research. Without defending its more deterministic features, this article supports a re-evaluation of Antal’s book, as an important forerunner of interdisciplinary art scholarship. It considers why Antal’s legacy has not endured, despite the ‘social history of art’ enjoying widespread acceptance in English-speaking art history in later decades. (shrink)

Intersemiotic translation (IT) was defined by Roman Jakobson (The Translation Studies Reader, Routledge, London, p. 114, 2000) as “transmutation of signs”—“an interpretation of verbal signs by means of signs of nonverbal sign systems.” Despite its theoretical relevance, and in spite of the frequency in which it is practiced, the phenomenon remains virtually unexplored in terms of conceptual modeling, especially from a semiotic perspective. Our approach is based on two premises: (i) IT is fundamentally a semiotic operation process (semiosis) and (ii) (...) IT is a deeply iconic-dependent process. We exemplify our approach by means of literature to dance IT and we explore some implications for the development of a general model of IT. (shrink)

Ovaj je zbornik nastao kao rezultat istraživanja provedenog unutar istoimenoga znanstveno-istraživačkoga projekta na kojemu su urednici istovremeno bili i glavni istraživači, a ostali autori članovi istraživačke skupine. Kao svjedoci različitih vrsta otklona od prevladavajućeg, uobičajenoga, normalnoga, pozitivnog ili ponašanja koje se karakterizira kao asocijalno, zapitali smo se – što postojeće čini normom, treba li odstupanje od norme nužno smatrati devijacijom i kakvi su poželjni društveni odgovori na odstupanja od normi. Često se smatra ispravnim upravo ono što je prevladavajuće, a ono (...) što predstavlja otklon označava se kao devijacija u negativnome značenju onoga što nije ispravno, nije posve ispravno, ili čak onoga što treba sankcionirati. Naš je početni stav bio da ono što prevladava ne smije biti neupitna norma, kao što ni ono što je otklon nije po automatizmu devijacija. Međutim, ne smatramo ni da prevladavajuću normu, samom tom činjenicom što je prevladavajuća, nužno treba kritizirati te da je svaki otklon po sebi poželjan. Cilj našeg istraživanja bio je istražiti različite oblike deficita i devijacijau u domeni formiranja vjerovanja individualnih, grupnih, kolektivnih i institucijskih epistemičkih aktera (socijalna epistemologija) i u domeni društvenog i institucijskoga djelovanja (filozofija politike i filozofija psihijatrije). Nastavno na to, pokušali smo identificirati vrijednosti postojećih normi, koliko odgovaraju poželjnim vrijednostima te koji su poželjni društveni odgovori na otklone od normi. (shrink)

The crucial problem in the philosophy of psychiatry is to determine under which conditions certain behaviors, mental states, and personality traits should be regarded as symptoms of mental illnesses. Participants in the debate can be placed on a continuum of positions. On the one side of the continuum, there are naturalists who maintain that the concept of mental illness can be explained by relying on the conceptual apparatus of the natural sciences, such as biology and neuroscience. On the other side (...) of the continuum, there are normativists who maintain that the appropriate characterization of the concept of mental illness cannot avoid reference to epistemic, moral and other social values. Although, this article is primarily an introduction to the debate, we stress the importance of the normativist positions. (shrink)

The ArgumentTwo research traditions in immunology, supposedly centered on the same issue of immune identification, have followed different theoretical goals and originated form competing phillosophical foundations. these may be labelled modernist and postmodernist, respectively, thereby applying cultural and philosophical categories to immunology in order to articulate potential scientific resonances with the broader culture. To accept that exercise and important caveat is imposed, namely, this translation is most appropriately discussed at the level of metaphor. In other words, I will structure my (...) treatment of these issues as expressed in the metaphorical language of the disipline, and thus the bulk of this discussion will focus on how the language and modeling of the science draws from the culture-at-large. Scientists seek images from their eveir everyday lives to describe phenomena that may be poorly articulated in their technical discourse; such is the utility and importance of metaphors generally, and thus it is not surprising that we might discern echoes of a postmodernist sentiment in the metaphors borrowed from post–World War II culture. I Will also discuss, to a more limited extent, how postmodernists have sought support for their own ideological arguments in immunology. This last topic server only to illustrate the bidirectionality of scientific discourse with the society in which it is embedded. (shrink)