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William James Stenhouse
William Stenhouse Professional address: Yeshiva University 500 W 185th St New York, NY 10033 E-mail: [email protected] Academic record 10/98-3/02 PhD from University College London. Thesis successfully defended March 2002, entitled “Epigraphic Research and Historical Scholarship, 1530-1603.” 10/96-9/97 MA with Distinction in Combined Historical Studies (The Renaissance) from the Warburg Institute, University of London. 10/92-6/96 First Class Honours degree in Classics from Balliol College, University of Oxford. Employment 7/19- Professor of History, Yeshiva University. 7/08-7/19 Associate Professor of History with tenure, Yeshiva University. 9/05-4/06 Associate Research Fellow (with full stipend), The Italian Academy for Advanced Studies in America, Columbia University, New York. 8/02-7/08 Assistant Professor of History, Yeshiva University. 9/01-5/02 Adjunct Professor of History, Macalester College, St Paul, Minnesota. Publications Books Reading Inscriptions and Writing Ancient History: Historical Scholarship in the Late Renaissance (London: Institute of Classical Studies, University of London, 2005). The Paper Museum of Cassiano dal Pozzo. Catalogue raisonné, volume A.VII, “Inscriptions” (London: Harvey Miller/ The Royal Collection Trust, 2002). Articles “The Greekness of Greek Inscriptions: Ancient Inscriptions in Early Modern Scholarship,” in N. Constantinidou and H. Lamers (eds), Receptions of Hellenism in Early Modern Europe (Leiden: Brill, 2019), 305-22. “The Style and Substance of Ancient Coins,” in C. Swan (ed.), A Festschrift for David Freedberg (Turnhout: Brepols/Harvey Miller, 2019), 483-92. “Reusing and Redisplaying Antiquities in Early Modern France,” in K. Christian and B. De Divitiis (eds), Local Antiquities, Local Identities: Art, Literature and Antiquarianism in Early Modern Europe (Manchester: Manchester University Press, 2018), 121-41. -
Theorizing Gender Solidarity in Times of Global Power Shift
International Journal of Communication 8 (2014), 506–523 1932–8036/20140005 Developmental Bodies and the Occupation of Time: Theorizing Gender Solidarity in Times of Global Power Shift KATHERINE REILLY1 Simon Fraser University Global power shift (GPS) offers an opportunity to rethink assumptions underlying feminist theories of solidarity with a view toward more historically engaged theorizing. During the globalist moment, feminist critical theory relied on the idea of “transversity” as a foundation for the theorizing solidarity because it created a bridge between dualities (local–global, rationalism–postmodernism). More recently, feminist critical theory has turned to intersectionality as a means to redress the dualities inherent in transversity. I argue that expressions of transversal solidarity tended to reify historical sedimentation of power, while intersectional theories of solidarity emphasize collective identities at the expense of transformative agendas. Drawing on the work of Mendieta, Kompridis, and Trouillot, I propose we understand gender solidarity in terms of developmental bodies that occupy time such that women can engage with GPS in proactive ways. This resituates communication’s role in solidarity building as a conversation with history rather than a dialogue between identities. Introduction Much of the literature on contemporary global power shift (GPS) has been concerned with whether and how the changing fortunes of nation-states will influence the functioning of international institutions, their regulation of global markets, or the possibility of diplomatic breakdown leading to war (e.g., Altman, 2009; Ferguson, 2009; Hoge, 2004; Ross & Friedberg, 2009). But for critical theories, GPS challenges us to look beyond regime theories when trying to make sense of historical change. -
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JOBNAME: EE0 d’Aspremont PAGE: 1 SESS: 6 OUTPUT: Wed Jan 30 08:58:14 2019 1. Introduction: The life of international law and its concepts Sahib Singh and Jean d’Aspremont ‘What meaning has the concept of murder, when we are confronted with the mass production of corpses?’1 Hannah Arendt asks this question of her readers as she attempts to understand the workings of totalitarianism. It may, though, also sound apt for today’s international law and its concepts. Contemporary international lawyers ply their trade knowing full well that significant parts of this law are structurally implicated in and perpetuate on-going economic and social injustices. Yet lawyers idealistically and increasingly resort to international law’s promises. How could our greater recourse to concepts such as universality, aggression, development, humanity or rights (to name but a few) not be tinged with a sense of futility? But this would miss Arendt’s point, for her question is a critique of how we are prone to think with concepts. Recourse to the concept of murder in order to understand, explain and evaluate the known horrors of the concentration camps meant giving in to a certain common sense. It was to concede to the ‘great temptation to explain away the intrinsically incredible by means of liberal rationalizations’.2 Modes of thought or attitudes that seek to reduce the complexities (and horrors) of our social world to inadequate categories are not merely unwarranted but potentially dangerous. It is, after all, not inadequate concepts or attempts to grasp the ungraspable and infinitely complex that Arendt indicts, but rather those who would do so by turning away from life and hence responsibility.3 Rather the question becomes: may we think of the relation(s) between concepts, life and living in international law? We broach this question in three sections. -
David Freedberg
David Freedberg Curriculum Vitae Education South African College High School 1961-65 University of Cape Town 1966 Yale University 1966-69 Balliol College, Oxford 1969-73 Degrees B.A. (Yale) 1969 Summa cum laude. Honors with exceptional distinction in Classics D. Phil. (Oxford) 1973 Doctoral dissertation entitled Iconoclasm and Painting in the Revolt of the Netherlands, 1566-1609, supervised by Dr. L.M.J. Delaissé and Professor Sir Ellis Waterhouse; examined by Professor H.R. Trevor-Roper and Mr. Gregory Martin Scholarships Yale South Africa Scholarship 1966 Rhodes Scholarship 1969 University Prizes Lucius Robinson and Charles Runk Prizes for Latin 1967 Woolsey Scholarship and Galpin Prize in Classics 1968 Pre-employment Activities Member of the British School at Rome's excavations at Narce, summer campaign 1968 Papers presented in the Department of History of Art, Oxford, and at Professor Sir Ernst Gombrich's Seminar at the Warburg Institute 1970-72 Languages Latin, Greek, Hebrew, German, French, Spanish, Italian and Dutch (reading); Italian, French, Dutch, German (spoken) 2 Employment Lecturer in the History of Art, Westfield College, University of London 1973-76 Lecturer in the History of Art, Courtauld Institute of Art, University of London 1976-84 Professor of Art History, Columbia University and Chair, Department of Art History, Barnard College 1984-86 Professor of Art History, Columbia University 1986- Director, Italian Academy for Advanced Studies in America, Columbia University 2000- Pierre Matisse Professor of the History of -
Thrownness, Attunement, Attention: a Heideggerian Account Of
Thrownness, Attunement, Attention: A Heideggerian Account of Responsibility Darshan Cowles A thesis submitted for the degree of Doctor of Philosophy Department of Philosophy University of Essex October 2017 Abstract: This thesis argues that Heidegger’s existential analytic of human existence challenges the traditional understanding of responsibility as lying in the power or mastery of the subject. In contrast to secondary literature that attempts to read Heidegger as showing that we take responsibility through some kind of self-determination or control, I argue that Heidegger’s account of our thrownness, and its first-personal manifestation in our attunement, contests such understandings and points to an account of responsibility that does not find its locus in the power of the subject. In light of this, I argue that taking responsibility for our being-in-the-world should be understood as becoming attentive. By emphasizing the ‘movement’ of thrownness and the meaning of this as finding ourselves always already gripped by way of being attuned, my analysis demonstrates the pervasive power of that which is beyond the subject. I show that we must always already find ourselves submitted to particular possibilities and, more fundamentally, to the enigma of being Dasein. From this analysis, and via the work of Harry Frankfurt, I demonstrate how our thrownness speaks against seeing responsibility for our being-in-the-world in terms of choice, rational judgement, or wholeheartedness. A further analysis of anxiety, contrasting with accounts which read it as manifesting a privileged space for freedom and self-determination, emphasizes the revelation of the ‘I’ as essentially bound to what is beyond it. -
David Freedberg
David Freedberg Curriculum Vitae Education South African College High School 1961-65 University of Cape Town 1966 Yale University 1966-69 Balliol College, Oxford 1969-73 Degrees B.A.(Yale). Summa cum laude. Honors with exceptional distinction in Classics 1969 D. Phil. (Oxford). Doctoral dissertation entitled Iconoclasm and Painting in the Revolt of the Netherlands, 1566-1609, supervised by Dr. L.M.J. Delaissé and Professor Sir Ellis Waterhouse; examined by Professor H.R. Trevor-Roper and Mr Gregory Martin 1973 Ph.D. Honoris Causa, University of Ghent 2017 Scholarships Yale South Africa Scholarship 1966 Rhodes Scholarship 1969 University Prizes Lucius Robinson and Charles Runk Prizes for Latin 1967 Woolsey Scholarship and Galpin Prize in Classics 1968 Pre-employment activities Member of the British School at Rome's excavations at Narce, Summer, 1968 Papers presented in the Department of History of Art, Oxford, and at Professor Sir Ernst Gombrich's Seminar at the 2 Warburg Institute, 1970-72 Languages Latin, Greek, Hebrew, German, French, Spanish, Italian and Dutch (reading); Italian, French, Dutch, German (spoken) Employment Lecturer in the History of Art, Westfield College, University of London 1973-76 Lecturer in the History of Art, Courtauld Institute of Art, University of London 1976-84 Professor of Art History, Columbia University and Chair, Department of Art History, Barnard College 1984-86 Professor of Art History, Columbia University 1986- Director, Italian Academy for Advanced Studies in America, Columbia University 2000- Pierre -
David Freedberg CV .Pdf
David Freedberg Curriculum Vitae Education South African College High School 1961–65 University of Cape Town 1966 Yale University 1966–69 Balliol College, Oxford 1969–73 Degrees B.A. (Yale) 1969 Summa cum laude. Honors with exceptional distinction in Classics D. Phil. (Oxford) 1973 Doctoral dissertation entitled Iconoclasm and Painting in the Revolt of the Netherlands, 1566–1609, supervised by Dr. L.M.J. Delaissé and Professor Sir Ellis Waterhouse; examined by Professor H.R. Trevor–Roper and Mr. Gregory Martin Scholarships Yale South Africa Scholarship 1966 Rhodes Scholarship 1969 University Prizes Lucius Robinson and Charles Runk Prizes for Latin 1967 Woolsey Scholarship and Galpin Prize in Classics 1968 Pre–employment Activities Member of the British School at Rome’s excavations at Narce, summer campaign 1968 Papers presented in the Department of History of Art, Oxford, and at Professor Sir Ernst Gombrich’s Seminar at the Warburg Institute 1970–72 Languages Latin, Greek, Hebrew, German, French, Spanish, Italian and Dutch (reading); Italian, French, Dutch, German (spoken) 2 Employment Lecturer in the History of Art, Westfield College, University of London 1973–76 Lecturer in the History of Art, Courtauld Institute of Art, University of London 1976–84 Professor of Art History, Columbia University and Chair, Department of Art History, Barnard College 1984–86 Professor of Art History, Columbia University 1986–Present Director, Italian Academy for Advanced Studies in America, Columbia University 2000–Present Pierre Matisse Professor of the History of Art, Columbia University 2007–Present Director, The Warburg Institute, The University of London 2015–2017 Honorary Degrees and University Awards Ph.D. -
Three Flemish Baroque Masters Featured in a New Exhibition at the Morgan Library & Museum
Press Contacts Shaili Shah 212.590.0311, [email protected] Patrick Milliman 212.590.0310, [email protected] THREE FLEMISH BAROQUE MASTERS FEATURED IN A NEW EXHIBITION AT THE MORGAN LIBRARY & MUSEUM THE SHOW EXPLORES THE CRUCIAL ROLE DRAWING PLAYED IN THE ART OF PETER PAUL RUBENS, ANTHONY VAN DYCK, AND JACOB JORDAENS Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens January 19 to April 29, 2018 No Press Preview New York, NY, December 14, 2017 — In a letter from September 13, 1621, describing a large painting of a lion hunt that he had just completed, Peter Paul Rubens expressed what he believed to be essential to his art: it had to be powerful and graceful. A constant quest to achieve an equilibrium of these two qualities lay at the heart of his work. The same can be said of Anthony van Dyck and Jacob Jordaens, who studied with Rubens and whose lives and careers were entwined with—and influenced by—the senior artist. A new exhibition at the Morgan Library & Museum, Power and Grace: Drawings by Rubens, Van Dyck, and Jordaens, brings together an extraordinary selection of twenty-two works on paper by these three giants of Flemish Baroque art, demonstrating the crucial role the medium of drawing played in their individual practice and highlighting their graphic styles. The show, which includes work from the Peter Paul Rubens (1577–1640), Seated Male Youth, ca. Morgan’s collection supplemented with a small number of 1613, black chalk, heightened with white chalk, on light gray paper, purchased by Pierpont Morgan (1837-1913) in 1909, The Morgan Library & Museum, I, 232. -
33536 SP WEB FM 00I-Xii.Indd
Process Approaches to Consciousness in Psychology, Neuroscience, and Philosophy of Mind Edited by MICHEL WEBER AND ANDERSON WEEKES Process Approaches to Consciousness in Psychology, Neuroscience, and Philosophy of Mind SUNY series in Philosophy George R. Lucas Jr., editor Process Approaches to Consciousness in Psychology, Neuroscience, and Philosophy of Mind Edited by Michel Weber and Anderson Weekes Published by State University of New York Press, Albany © 2009 State University of New York All rights reserved Printed in the United States of America No part of this book may be used or reproduced in any manner whatsoever without written permission. No part of this book may be stored in a retrieval system or transmitted in any form or by any means including electronic, electrostatic, magnetic tape, mechanical, photocopying, recording, or otherwise without the prior permission in writing of the publisher. For information, contact State University of New York Press, Albany, NY www.sunypress.edu Production by Cathleen Collins Marketing by Anne M. Valentine Library of Congress Cataloging-in-Publication Data Process approaches to consciousness in psychology, neuroscience, and philosophy of mind / edited by Michel Weber and Anderson Weekes. p. cm. — (SUNY series in philosophy) Includes bibliographical references and index. ISBN 978-1-4384-2941-0 (hardcover : alk. paper) 1. Consciousness. 2. Process philosophy. 3. Psychology. 4. Neurosciences. 5. Philosophy of mind. I. Weber, Michel. II. Weekes, Anderson, 1960– B808.9.P77 2010 126—dc22 2009010131 10 9 8 7 6 5 4 3 2 1 In memoria ingentis ingenii, dedicamus librum hunc ad Alecem MDCDLXXVI – MMVII vi Contents For much of the twentieth century, all sciences, including biology, were obsessed with reductionism: viewing the world at all levels, from the smallest to the largest, as merely a machine made of parts. -
Slade Lectures in Fine Art 2016-2017, Michaelmas Term 2016
Slade Lectures in Fine Art 2016-2017, Michaelmas Term 2016 Art, History and Neuroscience: The Work of Art in the Age of Digital Reproducibility Professor David Freedberg Professor Freedberg is best known for his work on psychological responses to art, and particularly for his studies on iconoclasm and censorship (see, inter alia, Iconoclasts and their Motives, 1984, and The Power of Images: Studies in the History and Theory of Response, 1989). His more traditional art historical writing originally centered on Dutch and Flemish art. Within these fields he specialized in the history of Dutch printmaking (see Dutch Landscape Prints of the Seventeenth Century (1980)), and in the paintings and drawings of Bruegel and Rubens (see, for example, The Prints of Pieter Bruegel the Elder (1989) and Rubens: The Life of Christ after the Passion (1984)). He then turned his attention to seventeenth century Roman art and to the paintings of Nicolas Poussin, before moving on to his recent work in the history of science and on the importance of the new cognitive neurosciences for the study of art and its history. Freedberg has also been involved in several exhibitions of contemporary art (eg. Joseph Kosuth: The Play of the Unmentionable (1992)). Following a series of important discoveries in Windsor Castle, the Institut de France and the archives of the Accademia dei Lincei in Rome, he has for long been concerned with the intersection of art and science in the age of Galileo. While much of his work in this area has been published in articles and catalogues, his chief publication in this area is The Eye of the Lynx: Galileo, his Friends, and the Beginnings of Modern Natural History (2002). -
The Problem of Philosophy in Siegfried Kracauer's
PECULIAR THEORY: THE PROBLEM OF PHILOSOPHY IN SIEGFRIED KRACAUER’S THEORY OF FILM Nicholas Alexander Warr Submitted for the qualification of PhD University Of East Anglia School of Film, Television and Media Studies 2013 © “This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that no quotation from the thesis, nor any information derived therefrom, may be published without the author’s prior, written consent”. ABSTRACT The republication of Theory of Film: The Redemption of Physical Reality by Siegfried Kracauer (1889 – 1966) in 1997 marked not just the highpoint of a period of renewed interest in his work, a period initiated by a series of events organized to mark the centenary of his birth, but also the limit of his scholarly influence. Though enthusiasm for his early sociological and cultural criticism written in Frankfurt and Berlin during the 1920s and 1930s continues to permeate research in numerous other disciplines within the humanities, his film theory continues to have little or no impact on the debates that currently define film studies. The reason for this, I argue, relates to the problematic role of philosophy in his film theory. Focusing primarily on Theory of Film, I examine in detail what makes Kracauer’s theory peculiar; peculiar in the sense that it belongs specifically to the film medium and peculiar in regard to the ambiguous philosophical claims that distinguish it from subsequent methods of film analysis. The contemporary image of Kracauer as a cultural philosopher, I argue, restricts how we read the relationship between film and philosophy in his work. -
Philosophy in Practice Volume 12 — Spring 2018
Philosophy in Practice Volume 12 — Spring 2018 California State uniVerSity, loS angeleS Department of philoSophy Philosophy in Practice VOLUME 12 – SPRING 2018 Cover Art: Photo of mural at Union Station, Los Angeles © Copyright 2018 by CSULA Philosophy Department. All rights reserved. Except for brief quotations in a review as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a data base or retrieval system, without the prior written permission of the publisher. Individual copyright reverts to the authors upon further publication of their articles. CONTENTS Acknowledgments ..................................iv Faculty ...........................................v Professor Spotlight: Mark Balaguer ...................vii Articles: Persistent Beliefs Troy Polidori ............................... 1 Modal Fictionalism and the Problem of Incompleteness David Fonth ............................... 16 Logical Pluralism and its Collapse Problems Taylor A. Dunn ............................ 36 The Low-Entropy Past Still Requires Explanation Katelyn Rogers ............................ 46 Anarchy and Disclosure Bryan Knittle .............................. 59 Introspection and Cognitive Phenomenology Drew Patterson ............................ 81 An Aristotelian Approach to Quantum Mechanics Gil Sanders ................................94 Privacy: A Last Resort Fernando Cierra ...........................107 Simone de Beauvoir: Una Cuenta Para El