In this groundbreaking editorial and curatorial project, more than 100 writers, artists, and philosophers rethink what politics is about. In a time of political turmoil and anticlimax, this book redefines politics as operating in the realm of things. Politics is not just an arena, a profession, or a system, but a concern for things brought to the attention of the fluid and expansive constituency of the public. But how are things made public? What, we might ask, is a republic, a (...) res publica, a public thing, if we do not know how to make things public? There are many other kinds of assemblies, which are not political in the usual sense, that gather a public around things—scientific laboratories, supermarkets, churches, and disputes involving natural resources like rivers, landscapes, and air. The authors of Making Things Public—and the ZKM show that the book accompanies—ask what would happen if politics revolved around disputed things. Instead of looking for democracy only in the official sphere of professional politics, they examine the new atmospheric conditions—technologies, interfaces, platforms, networks, and mediations that allow things to be made public. They show us that the old definition of politics is too narrow; there are many techniques of representation—in politics, science, and art—of which Parliaments and Congresses are only a part. The authors include such prominent thinkers as Richard Rorty, Simon Schaffer, Peter Galison, Richard Powers, Lorraine Daston, Richard Aczel, and Donna Haraway; their writings are accompanied by excerpts from John Dewey, Shakespeare, Swift, La Fontaine, and Melville. More than 500 color images document the new idea of what Bruno Latour and Peter Weibel call an "object-oriented democracy.". (shrink)

After reviewing current opinions about the social function of literature in second-century BCE Rome, I focus on two controversial fragments assigned to Cato the Censor's Origines. In the first, Cato portrays the ancestors in a convivial setting as they sing the praises and the manly deeds of famous men; in the second, he gestures towards the pontifex maximus' specialized use of writing and the functioning of the tabula as a locus of memory. By drawing on the field of performance studies, (...) I identify the performative features inherent in both of these fragments and map out how these features inform the positioning of Cato in relation to the identity politics of his time, professionalism, and writing. The aim of this study is to return the Origines to its immediate socio-cultural purview, but working towards this aim will also entail a shift in perspective and a reassessment of our notions of “poetry” and “prose.” In fact, by stressing the performance dimension that underlies the genesis of the Origines as a text, this article will also expose the shortcomings inherent in the hyper-literary approaches that have been so far adopted. (shrink)

In the de Officiis we have, save for the latter Philippics, the great orator's last contribution to literature. The last, sad, troubled years of his busy life could not be given to his profession; and he turned his never-resting thoughts to the second love of his student days and made Greek philosophy a possibility for Roman readers. The senate had been abolished; the courts had been closed. His occupation was gone; but Cicero could not surrender himself to idleness. In those (...) days of distraction (46-43 b.c.) he produced for publication almost as much as in all his years of active life.The liberators had been able to remove the tyrant, but they could not restore the republic. Cicero's own life was in danger from the fury of mad Antony and he left Rome about the end of March, 44 b.c. He dared not even stop permanently in any one of his various country estates, but, wretched, wandered from one of his villas to another nearly all the summer and autumn through. He would not suffer himself to become a prey to his overwhelming sorrow at the death of the republic and the final crushing of the hopes that had risen with Caesar's downfall, but worked at the highest tension on his philosophical studies. (shrink)

This book performs for the "Academici Libri" what P.L. Schmidt achieved for the "De legibus" - it studies the entire tradition of the work, including its original publication, its influence in Antiquity, the Middle Ages and Renaissance, manuscripts and printed editions.

It deals with the problems of the Latin text (taking account of Michael Winterbottom's new edition), it delineates the work's structure and sometimes elusive train of thought, clarifies the underlying Greek and Latin concepts, and provides starting points for approaching the philosophical and historical problems that De Officiis raises.

A witty exploration of the transmission of cultural texts.

The object of this paper is to question the established view that the orator M. Calidius was an Atticist. I propose to argue that the term ‘Atticist’ should be reserved for the coterie centring on Calvus, which attacked Cicero, and was attacked by him in Brutus and Orator, and that our evidence for the oratory of Calidius does not warrant the inference that he was in any way associated with, or a forerunner of, that coterie.

It is often assumed that we know very little about how literary texts circulated in the Roman world because we know very little about the Roman book trade. In fact, we know a great deal about book circulation, even though we know little about the book trade. Romans circulated texts in a series of widening concentric circles determined primarily by friendship, which might, of course, be influenced by literary interests, and.by the forces of social status that regulated friendship. Bookstores and (...) ‘public’ libraries, which made a text available to individuals personally unknown to the author and his friends, were comparatively late developments. To trace the circulation of a Roman literary work, we shall use a schematic model to follow a literary text from its initial conception through the widening circles through which it moved. (shrink)

The study of the circulation of literary texts in ancient Rome has taken on new significance lately. Recent work on Roman books and their readers has emphasized the difference between the dissemination of texts in the ancient world and publication as we moderns know it, and we have come to see that our understanding of Roman culture and their politics can benefit from a closer examination of how the Romans composed, recited, and released their books. Take, for example, Cicero and (...) the readers of his philosophical works. In the Tusculans, the Academica, De Officiis, De Divinatione, and De Finibns Cicero promoted Latin, in terms very like those of modern linguistic nationalism, as a medium for intellectual discourse at the expense of Greek, and exhorted his readers to follow him in transferring philosophy from Greece to Rome. To choose to write philosophy at this time in Latin instead of Greek was, as Cicero put it, a practical means of increasing Rome's intellectual prestige, a campaign in which he invited his readers to enlist. But to whom was this appeal directed? Who, to Cicero's mind at least, would have been useful in achieving this political goal? From evidence in Cicero's letters to Atticus, we can largely retrace how he disseminated these philosophical books, reconstruct to some degree their original readers, and, most importantly, deduce the grounds on which Cicero selected them. Cicero's choice of audience, and the manner in which he assembled it, throws an interesting light both on his agenda in promoting Latin as a philosophical language as well as on the Roman culture of publication. (shrink)