This book promotes the research of present-day women working in ancient and medieval philosophy, with more than 60 women having contributed in some way to the volume in a fruitful collaboration. It contains 22 papers organized into ten distinct parts spanning the sixth century BCE to the fifteenth century CE. Each part has the same structure: it features, first, a paper which sets up the discussion, and then, one or two responses that open new perspectives and engage in further reflections. (...) Our authors’ contributions address pivotal moments and players in the history of philosophy: women philosophers in antiquity, Cleobulina of Rhodes, Plato, Lucretius, Bardaisan of Edessa, Alexander of Aphrodisias, Plotinus, Porphyry, Peter Abelard, Robert Kilwardby, William Ockham, John Buridan, and Isotta Nogarola. The result is a thought-provoking collection of papers that will be of interest to historians of philosophy from all horizons. Far from being an isolated effort, this book is a contribution to the ever-growing number of initiatives which endeavour to showcase the work of women in philosophy. (shrink)

Roman writing of the late Republic and early Empire, especially historiography, is filled with exempla, stories of the past meant to serve as models for contemporary and future behavior. This period also witnessed the rise of an encyclopedic mode of composition among Latin authors, which purported to collect and organize the totality of knowledge in a given field. The following essay proposes that exemplarity and encyclopedism were not just literary devices, but deep organizational principles throughout Roman culture. It seeks to (...) show how they were operative in the visual arts in the first century BCE, focusing especially on a frieze depicting the baking process on the tomb of Marcus Vergilius Eurysaces in Rome. By approaching a monument like the frieze of Eurysaces through such principles we may better articulate both visual and thematic relationships across a variety of genres within the broader Roman image world. (shrink)

In the history of technologies and materials the transfer from soft to hard plays a central role. From a dialectic point of view it seems to be a clear-cut matter of one overpowering the other, yet conceptually things are more convoluted. What we call the chiastic model of history is driven by the exchange of empowerings where the one inhabits the other. By taking the most antithetical examples of materiality from architectural history, the plastic and the lithic, we begin to (...) understand the psychological aspects of this exchange: a history of dreams, imagination and even hallucination. The technologies involving the plastic offer an enormous array of such imagery, which we start to analyze as part of a fundamental aspect of technology itself. Using the notion of the pharmakon, as developed by Derrida and Stiegler, we study its ambiguities: technology by its nature is both remedy and poison, cure and addiction. Accepting this ambivalence is the explicit goal of pharmacology, which makes the history of soft and hard one of prosthetic extension as much as of mimetic absorption. We will be guided by two architectural fantasists to investigate the what we call the pharmacology of architecture, J. G. Ballard’s fantasy of a house automaton in the case of the plastic, and G. B. Piranesi’s hallucinations of a reversed archeology in that of the lithic. (shrink)

The commemorative forms of the Romans are marked by the ubiquity of two contrasting presentational modes: one essentially mimetic, rooted in the representational power of artistic forms, the other abstract and figurative, dependent on the presentation of cues for the summoning of absent yet necessary images. The mimetic mode was thoroughly conventional, and thus posed few problems of interpretation; the figurative knew no such orthodoxy and required a different and distinctive form of attention. At the tomb, epigraphic and sculptural forms, (...) each in its characteristic manner, addressed an audience habituated by tradition to respond to both of these modes, to grasp their differences, and to rise to the challenge implicit in the very fact of their contrast. (shrink)

The term of Ethos was first appeared in the 5th century BC, meaning "nature", "habit" and "custom", in the character of heroes. This term gradually found its place in the views of philosophers such as Plato and Aristotle on moral advice aimed at encouraging the socialization of individuals. Aristotle called artists to observe virtue in their works and called such artists ethographer. The Aristotelian ethographos Art is not only used as a criterion for art criticism, but also leads to the (...) unity between the visual and non-visual arts, and in this way, the artist can communicate and influence the audience and allow them to recognize different perspectives. The ethographos Art transcends the function of art beyond the limited scope of subject-object and gives it a role with a social function, and then, vitalize to its material environment and makes possible the understanding of the unattainable concepts of ontology, both in the spatial and human dimensions, and leads to a general agreement. (shrink)

The translation of Rudolf Bode’s Rhythm and its Importance for Education and Rudolf Laban’s ‘Eurhythmy and kakorhythmy in art and education’ aims at unearthing rhythm-related discourses in the Germany of the 1920s. If for most of the English-speaking world the translation of Henri Lefebvre’s Rhythmanalysis: Space, Time and Everyday Life marks the moment in which rhythm descends into the theoretical arena, these texts, seen in their connection with other sources, express, instead, the degree to which rhythm was omnipresent in philosophical, (...) artistic, socio-economical and psychological discourses at the turn of the 20th century. Some commentators, such as Lubkoll, have recently highlighted the centrality of rhythm in Modernity, lamenting a lack of scholarship focusing on this phenomenon. This is arguably due to a lack of access to sources accentuated by the language barrier; if, indeed, the ‘rhythmanalysis’ of the turn of the century is not an exclusively Teutonic phenomenon, it is also true that a copious amount of material on rhythm of this period is written in German and remains untranslated. In this sense, then, this translation aims at contributing to the project of a cultural history of rhythm. (shrink)