‘All the World’s a Stage-Painting’: Scenery, Optics, and Greek Epistemology

2017 ◽  
Author(s):  
M. F. Burnyeat
Keyword(s):  
Fourth Century ◽  
Fifth Century ◽  
Early History ◽  
Sense Perception ◽  
Phenomenal Experience ◽  
The World ◽  
Fourth Century Bce ◽  
History Of ◽  
Epistemological Debate ◽  
Underlying Reality

In the fourth century BCE, Anaxarchus and Monimus compared the world to stage-painting, to express scepticism about sense-perception and the worthlessness of human affairs, respectively. But the comparison traces back to Democritus’ discussion of Anaxagoras’ famous claim, a century earlier, that ‘appearances are a sight of things unseen’. According to Vitruvius, they were influenced by what Agatharchus had written about stage-painting, something that can be assessed properly only by considering the genre of technical treatises and the claims of those who were first to write on a subject. The comparison with phenomenal experience should ultimately be credited to Anaxagoras, though the points that he and Democritus make differ, owing to their different views of how the macroscopic world is related to underlying reality. These texts are thus not about the early history of perspectival painting, but stem from a fifth-century epistemological debate about what, if anything, sense-perception reveals about reality.

Evolution and environment in the late Silurian-early Devonian: the rise of the pteridophytes

1985 ◽  
Vol 309 (1138) ◽  
pp. 147-165 ◽  
Keyword(s):  
Vascular Plants ◽  
Preliminary Report ◽  
Life Histories ◽  
Early History ◽  
Flora Of Australia ◽  
Early Devonian ◽  
The World ◽  
History Of

A brief review of the major advances since 1979 in Silurian and Devonian palaeobotany is followed by a preliminary report on a Gedinnian assemblage from the Welsh Borderland. This is dominated by rhyniopsids and includes several species of Cooksonia and Salopella . Spores have been isolated from a number of taxa. The assemblage is used to illustrate the problems of recognition and classification of early vascular plants. Parallel sedimentological and palaeogeographical studies permit speculation on the ecology and life histories of the plants that colonized the Old Red Continent. It is concluded that the lack of well preserved and independently dated assemblages from elsewhere in the world (an exception being the Baragwanathia flora of Australia) prevents the detection of any provincialism in the late Silurian and early Devonian and makes generalizations on the early history of vascular plants premature.

scholarly journals Synet på natur og historie hos Grundtvig og Løgstrup

1994 ◽  
Vol 45 (1) ◽  
pp. 92-106
Author(s):  
Hans Henningsen
Keyword(s):  
Sense Perception ◽  
Historical View ◽  
Self Recognition ◽  
The World ◽  
Art Forms ◽  
History Of ◽  
Different Dimensions ◽  
The Creation ◽  
The Universe ◽  
Historical Life

The View of Nature and History in Grundtvig and LøgstrupBy Hans HenningsenGrundtvig’s and K.E. Løgstrup’s thoughts move in two different dimensions, but with the same intention of demonstrating that it was not the capacity of man to create culture that first gave significance to the world. But where Grundtvig speaks about history, Løgstrup speaks about »phenomena«, »nature«, and »universe«.While Grundtvig was largely unaffected by Kant, the latter - with his concepts of the selfexistent subject and the idea of the faculty of cognition as productive - became a challenge to Løgstrup. Kant heralds an era whose relationship with the universe is characterized as a »marginal existence«. Our culture became an emancipatory culture which was all to the good, but the era lost its sense of the .pre-cultural. structures in which life is »encased«.The era has also emancipated itself from Grundtvig’s historical view. But a history on the premisses of relativism is no history. Or, in Løgstrup’s words, there is no other history than the history of what is essential in life. Therefore, in reality, Løgstrup’s phenomenological and philosophical endeavours become a defence of history. Grundtvig’s view of nature was determined by his radical prioritization of history. He prefers to view nature as part of the historical life of man, which again determines his use of nature images. In Grundtvig there is no religious interpretation of any experience or perception of nature in spite of the fact that everything in the Creation is to be understood as images of the eternal.In Løgstrup there is no such cautions attitude towards nature. Here nature and sense perception are liberating, but as is the case with Grundtvig, nature is seen as the foundation of man’s life, as immediate experience.Grundtvig’s radical prioritization of history colours his view of art. The Creation itself is the greatest work of art; part of it is the upbringing through which all history must be the object of the individual’s own experience. Among the art forms, poetry ranks highest, with the song above all other forms, while Grundtvig only uses disparaging words about painting and sculpture because these art forms are wordless and preclude changes. Løgstrup, however, attaches much greater importance to sense perception and self-recognition through art.These contrasts may be regarded as what Løgstrup calls uniting opposites; it must be remembered, however, that such disparities cannot be harmonized so as to disappear, but are uniting precisely by virtue of the tension that exists between them. The actual existence of the contrasts does not preclude the possibility that in a wider sense the two views may be contained within the same framework and express a common intention.

Past Belief

2019 ◽  
pp. 13-40
Author(s):  
Anthony Grafton
Keyword(s):  
Early Modern ◽  
Catholic Church ◽  
Saint Augustine ◽  
Fourth Century ◽  
Early History ◽  
Ecclesiastical History ◽  
Royal Road ◽  
History Of ◽  
The Subject ◽  
The Church

This chapter examines the centrality of early modern ecclesiastical history, written by Catholics as well as Protestants, in the refinement of research techniques and practices anticipatory of modern scholarship. To Christians of all varieties, getting the Church's early history right mattered. Eusebius's fourth-century history of the Church opened a royal road into the subject, but he made mistakes, and it was important to be able to ferret them out. Saint Augustine was recognized as a sure-footed guide to the truth about the Church's original and bedrock beliefs, but some of the Saint's writings were spurious, and it was important to be able to separate the wheat from the chaff. To distinguish true belief from false, teams of religious scholars gathered documents; the documents in turn were subjected to skeptical scrutiny and philological critique; and sources were compared and cited. The practices of humanistic scholarship, it turns out, came from within the Catholic Church itself as it examined its own past.

Benjamin Waterhouse Hawkins and the early history of three-dimensional paleontological art

2021 ◽  
Author(s):  
Robert M. Peck ◽  
Stephen M. Rowland
Keyword(s):  
New York ◽  
Three Dimensional ◽  
Early History ◽  
Public Display ◽  
Central Park ◽  
Political Machine ◽  
Tammany Hall ◽  
The World ◽  
History Of ◽  
Lecture Tour

ABSTRACT Benjamin Waterhouse Hawkins (1807–1894) was a British scientific illustrator and sculptor who illustrated many British exploration reports in the 1830s and 1840s. In the early 1850s, Hawkins was commissioned to create life-size, concrete sculptures of Iguanodon, ichthyosaurs, and other extinct animals for a permanent exhibition in south London. They were the first large sculptures of extinct vertebrates ever made, and they are still on view today. Inspired by his success in England, Hawkins launched a lecture tour and working trip to North America in 1868. Soon after his arrival, he was commissioned to “undertake the resuscitation of a group of animals of the former periods of the American continent” for public display in New York City. Had it been built, this would have been the first paleontological museum in the world. As part of this ambitious project, with the assistance of the American paleontologist Joseph Leidy, Hawkins cast the bones of a recently discovered Hadrosaurus specimen and used them to construct the first articulated dinosaur skeleton ever put on display in a museum. It was unveiled at the Academy of Natural Sciences of Philadelphia in November 1868. Hawkins worked tirelessly on New York’s proposed “Paleozoic Museum” for two years, until his funding was cut by William “Boss” Tweed, the corrupt leader of the Tammany Hall political machine, who grew hostile to the project and abolished the Central Park Commission that had made it possible. When Hawkins defiantly continued to work, without funding, Tweed dispatched a gang of thugs to break into his studio and smash all of the sculptures and molds. Although Hawkins would create several copies of his articulated Hadrosaurus skeleton for other institutions, the prospect of building a grand museum of paleontology in America was forever destroyed by Tweed’s actions.

Empedocles (c.495–c.435 BC)

2018 ◽  
Author(s):  
Malcolm Schofield
Keyword(s):  
Good Deal ◽  
Comparative Morphology ◽  
Basic Structure ◽  
Sense Perception ◽  
Animal Sacrifice ◽  
Biological Phenomena ◽  
The World ◽  
History Of ◽  
The Universe ◽  
Clear Relation

Empedocles, born in the Sicilian city of Acragas (modern Agrigento), was a major Greek philosopher of the Presocratic period. Numerous fragments survive from his two major works, poems in epic verse known later in antiquity as On Nature and Purifications. On Nature sets out a vision of reality as a theatre of ceaseless change, whose invariable pattern consists in the repetition of the two processes of harmonization into unity followed by dissolution into plurality. The force unifying the four elements from which all else is created – earth, air, fire and water – is called Love, and Strife is the force dissolving them once again into plurality. The cycle is most apparent in the rhythms of plant and animal life, but Empedocles’ main objective is to tell the history of the universe itself as an exemplification of the pattern. The basic structure of the world is the outcome of disruption of a total blending of the elements into main masses which eventually develop into the earth, the sea, the air and the fiery heaven. Life, however, emerged not from separation but by mixture of elements, and Empedocles elaborates an account of the evolution of living forms of increasing complexity and capacity for survival, culminating in the creation of species as they are at present. There followed a detailed treatment of a whole range of biological phenomena, from reproduction to the comparative morphology of the parts of animals and the physiology of sense perception and thinking. The idea of a cycle involving the fracture and restoration of harmony bears a clear relation to the Pythagorean belief in the cycle of reincarnations which the guilty soul must undergo before it can recover heavenly bliss. Empedocles avows his allegiance to this belief, and identifies the primal sin requiring the punishment of reincarnation as an act of bloodshed committed through ‘trust in raving strife’. Purifications accordingly attacked the practice of animal sacrifice, and proclaimed prohibition against killing animals to be a law of nature. Empedocles’ four elements survived as the basis of physics for 2,000 years. Aristotle was fascinated by On Nature; his biology probably owes a good deal to its comparative morphology. Empedocles’ cosmic cycle attracted the interest of the early Stoics. Lucretius found in him the model of a philosophical poet. Philosophical attacks on animal sacrifice made later in antiquity appealed to him as an authority.

Greco-Roman Surgical Instruments

2018 ◽  
pp. 554-590
Author(s):  
Lawrence J. Bliquez
Keyword(s):  
Fourth Century ◽  
Fifth Century ◽  
Surgical Instruments ◽  
First Century ◽  
Bladder Stones ◽  
Greco Roman ◽  
Fourth Century Bce

The chapter looks at Greek and Roman surgical instruments. The survival of Greco-Roman surgical instruments falls into two divisions: tools available in Hippocratic times (fifth to fourth century bce), and instruments at the disposal of surgeons, mostly Greek, from the late Republic through the Empire (first century bce to fifth century ce). From the former, most survivals are cupping vessels from graves. The texts suggest the Hippocratic physician often created his tool on the spot or had a tool prepared for an immediate need, whereas most of an Imperial surgeon’s repertoire consisted of instruments professionally made and sold by smiths. The various kinds of instruments are described, explained, and illustrated: cupping vessels, scalpels, phlebotomes (for phlebotomy), lithotomes (for bladder stones), needles, probes, cauteries, hooks, forceps, saws, drills, chisels, files, levers, tubes, douches, specula, and abortives.

The birth and early days of the Philosophical Transactions

1965 ◽  
Vol 20 (1) ◽  
pp. 9-27 ◽  
Keyword(s):  
Royal Society ◽  
Early History ◽  
Scientific Society ◽  
Hundredth Anniversary ◽  
Corporate Body ◽  
Scientific Periodical ◽  
The World ◽  
History Of ◽  
To Come ◽  
Accademia Del Cimento

The Royal Society was not the first scientific society, or organized academy for the promotion of science, to be founded, since it was preceded by the original Accademia del Cimento, which took its rise in 1657, but lived only ten years. The Royal Society is, then, the oldest corporate body of its kind to have enjoyed continuous existence until today. In a like way the Philosophical Transactions was not the earliest scientific periodical to come forth, since the first number of the Journal des Sçavans appeared, on 5 January 1665, two months before the first number of the Transactions . The Journal , however, while much concerned with scientific matters, including scientific books, dealt with the world of learning in general, including literary, legal and theological matters. Its pronouncements often led to stormy controversy, it had a troubled history and finally ceased to appear in 1790. The Transactions , except for a short break when it was replaced by Hooke’s Philosophical Collections , and for an interruption of three years that followed the landing of William of Orange and the flight of James II, has been published continuously from the issue of the first number dated 6 March 1664/5, the present year thus being the three hundredth anniversary of its beginning. Conspicuously connected with the first appearance of the Philosophical Transactions was Henry Oldenburg, a character very much to the fore in the early history of the Society.

Chinese Painting and Archaic Greek Art

1940 ◽  
Vol 9 (27) ◽  
pp. 129-136
Author(s):  
T. B. L. Webster
Keyword(s):  
Fourth Century ◽  
Fifth Century ◽  
Chinese Painting ◽  
The World ◽  
The Subject ◽  
Greek Art ◽  
Manchester School

‘If a man were a good painter, he could deceive children and fools by painting a carpenter and showing it from a long way off, because it would seem really to be a carpenter.’ Plato here (Republic, 598c) is undoubtedly describing realistic painting, perhaps not so photographically realistic as the paintings in Pompeii or the painting that we know to-day, but painting which aimed at producing a likeness and rendering the appearance of the original. Such pictures can be seen on the vases of the fourth century and of the late fifth century b.c., for instance the two women on a red-figured perfume vase in the Manchester School of Art, which was painted about the time of the dramatic date of the Republic (Pl. I). But if we go back rather over a hundred years to the black-figure vase reproduced by Mr. Austin in Greece and Rome, vol. vii, we are in a completely different world of flat figures in conventional poses, and if we go further back still to the Geometric vase (Fig. I) which forms the subject of Mr. Austin's article, we are yet further from the world of ‘likeness’. These early Greek painters cannot have wanted to produce likenesses; but what was their aim ?

The Orpheus Metope from Bassai

1981 ◽  
Vol 76 ◽  
pp. 323-328
Author(s):  
Carlos Arturo Picón
Keyword(s):  
Fifth Century ◽  
Early History ◽  
History Of ◽  
The Subject ◽  
New Evidence ◽  
To Receive ◽  
The Temple

A fruitful combination of excavation, fieldwork, and research has in recent years increased our knowledge of the Temple of Apollo Epikourios at Bassai. In particular, the sculptured frieze which encircled the interior of the cella has been the subject of numerous studies, the most recent being the monograph by C. Hofkes-Brukker and A. Mallwitz published in 1975. The investigations made at Bassai by N. Yalouris and F. A. Cooper have produced important new evidence. As a result of the excavations conducted by Yalouris since 1959, the early history of the sanctuary and of the structures preceding the classical (‘Iktinian’) temple are reasonably clear. Furthermore, Cooper has shown that the ‘Iktinian’ building, the fourth in a series of temples to Apollo on the site, was not designed to receive pedimental sculpture, and that some, if not all, of this temple's akroteria were floral. The traditional attributions of pedimental and akroterial statues must be discarded, along with the theory that the ‘Iktinian’ building was started as early as the middle of the fifth century B.C.Yet, despite this progress, and the fact that the temple is one of the best-preserved monuments from antiquity, many issues remain controversial. Scholars postulate several building phases for the Classical temple. The chronology of the sculptures is still debated, as is the order of the twenty-three frieze-slabs within the cella.

Aristotle and the Dramatisation of Legend

1954 ◽  
Vol 4 (3-4) ◽  
pp. 151-157
Author(s):  
H. C. Baldry
Keyword(s):  
Lyric Poetry ◽  
Fourth Century ◽  
Fifth Century ◽  
Wide Field ◽  
Works Of Art ◽  
History Of ◽  
The Subject ◽  
Scanty Information ◽  
The One ◽  
Traditional Stories

This article is a survey of familiar ground—those passages of the Poetics of Aristotle which throw light on the treatment of legend by the tragic poets. Although sweeping generalizations are often made on the use of the traditional stories in drama, our evidence on the subject is slight and inconclusive. We have little knowledge of the form in which most of the legends were known to the Attic playwrights, for the few we find in the Iliad and Odyssey appear there in very different versions from those they take on in the plays, and the fragmentary remains of epic and lyric poetry between Homer and the fifth century B.C. present us with a wide field for speculation, but few certain facts; while vase paintings and other works of art supplement only here and there the scanty information gained from literature.The comments of ancient writers on this aspect of tragedy are surprisingly few, and carry us little farther. The Poetics stands out as the one source from which we can draw any substantial account of the matter. Even Aristotle, of course, is not directly concerned with the history of drama, and deals with it only incidentally in isolated passages; and in considering these it must constantly be borne in mind that he is discussing tragedy as he knew it in the late fourth century, for the benefit of fourth-century readers. But even so, his statements are the main foundation on which our view of the dramatists' use of legend must be built.

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