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The Ethics of Meaning
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 The Ethics Of Meaning Robert B. Willison University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the Ethics and Political Philosophy Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Willison, Robert B., "The Ethics Of Meaning" (2017). Publicly Accessible Penn Dissertations. 2795. https://repository.upenn.edu/edissertations/2795 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2795 For more information, please contact [email protected]. The Ethics Of Meaning Abstract This dissertation develops an ethics of meaning. In the first chapter, I offer an account of meaning that comprehends its many varieties—natural, cultural, linguistic, literary, and ethical meaning, for example—by appeal to the structural role meaning plays in the practice of interpretation. In Chapter 2, I develop a distinctive account of the concept of ethical meaning (“meaning” as it’s used in the phrase “the meaning of life”). In Chapter 3, I develop a new account of irony on the basis of the comprehensive-interpretive account of meaning introduced in Chapter 1. Degree Type Dissertation Degree Name Doctor of Philosophy (PhD) Graduate Group Philosophy First Advisor Michael Weisberg Keywords Ethics, Irony, Meaning Subject Categories Ethics and Political Philosophy | Other Languages, Societies, and Cultures | Philosophy This -
Elizabeth Price: a Restoration the Contemporary Art Society Award
Ashmolean Museum of Art and Archaeology University of Oxford press release Beaumont Street Oxford OX1 2PH www.ashmolean.org 14 March 2016, for immediate release: Elizabeth Price: A RESTORATION The Contemporary Art Society Award 18 March–15 May 2016 Elizabeth Price, winner of the 2013 Contemporary Art Society Award, has created a new work in response to the collections and archives of the Ashmolean and Pitt Rivers museums, in partnership with the Ruskin School of Art, Oxford, where Price teaches. The new commission is a fifteen-minute, two-screen digital video which employs the museums’ photographic and graphic archives. It is a fiction, set to melody and percussion, which is narrated by a ‘chorus’ of museum administrators. The film opens with the records of Arthur Evans’s excavation of the Cretan city of Knossos. The administrators use Evans’s extraordinary documents and photographs to figuratively reconstruct the Knossos Labyrinth within the museum’s computer server. They then imagine its involuted space as a virtual chamber through which a wide range of artefacts from the two museums digitally flow, clatter and cascade. Elizabeth Price at the Contemporary Art Society Awards, 2013 Elizabeth Price says: ‘It has been a great pleasure and privilege to work with the museums, to have such a unique opportunity to delve into their archives and draw upon the knowledge and expertise of their staff. In my film I have tried to reflect upon the objects that the two museums hold and exhibit, through the history of their repeated depiction in photographs, prints and drawings. In this history of images and interpretations we see the objects change – and this is the basis for the story I have imagined.’ Turner Prize winner, Elizabeth Price, is an artist who uses images, text and music to explore archives and collections. -
Ibrahim El-Salahi a Sudanese Artist in Oxford Ibrahim El-Salahi a Sudanese Artist in Oxford
ibrahim el-salahi a sudanese artist in oxford Ibrahim El-Salahi A Sudanese Artist in Oxford Lena Fritsch Contents ibrahim el-salahi Director’s Foreword 7 a sudanese artist in oxford Introduction 9 Copyright © Ashmolean Museum, University of Oxford, 2018 From Omdurman to Oxford 13 Lena Fritsch has asserted her moral right to be identified as the author of this work. In Conversation with Ibrahim El-Salahi 49 British Library Cataloguing in Publications Data Ancient Sudan in the Ashmolean Museum 59 Liam McNamara A catalogue record for this book is available from the British Library Ibrahim El-Salahi and the Sudanese Community in Oxford 63 EAN 13: 978-1-910807-23-1 Nazar Eltahir All rights reserved. No part of this publication may be transmitted in any form or by any means, electronic or mechanical, including Chronology 64 photocopy, recording or any storage and retrieval system, without Federica Gigante the prior permission in writing of the publisher. Curator’s Acknowledgements 72 Catalogue designed by Stephen Hebron Printed and bound in Belgium by Albe de Coker For further details of Ashmolean titles please visit: www.ashmolean.org/shop Director’s Foreword Celebrated as a pioneer of African and Arab Modernism, Ibrahim El- Salahi (b.1930) is one of the most influential figures in Sudanese art today. His paintings and drawings combine inventive forms of calligraphy, African abstraction and a profound knowledge of European art history in a unique language. Widely exhibited and collected internationally, the artist has lived and worked in Oxford since 1998. Te Ashmolean Museum is proud to present the first solo exhibition of Ibrahim El-Salahi’s works in Oxford. -
Ashmolean Museum from Wikipedia, the Free Encyclopedia
Ashmolean Museum From Wikipedia, the free encyclopedia The Ashmolean Museum (in full the Ashmolean Museum of Art and Archaeology) on Beaumont Street, Oxford, Ashmolean Museum England, is the world's first university museum.[1] Its first building was erected in 1678–1683 to house the cabinet of curiosities that Elias Ashmole gave to the University of Oxford in 1677. The museum reopened in 2009 after a major redevelopment. In November 2011, new galleries focusing on Egypt and Nubia were also unveiled. In May 2016, the museum opened new galleries of 19th-century art. Contents Main Museum Entrance 1 History 2 Renovation 3 Collections 4 Collections gallery 5 Broadway Museum and Art Gallery 6 Major exhibitions 7 Keepers and Directors Location in Oxford 8 In popular culture 8.1 Comics Established 1683 8.2 Literature Location Beaumont Street, Oxford, England 8.3 Stage productions Coordinates 51.7554°N 1.2600°W 8.4 Television 9 Theft Type University Museum of Art and 10 See also Archaeology 11 References 12 External links Director Dr Alexander Sturgis Website www.ashmolean.org History The collection includes that of Elias Ashmole, which he had collected himself, including objects he had acquired from the gardeners, travelers, and collectors John Tradescant the elder and his son, John Tradescant the younger. The collection included antique coins, books, engravings, geological specimens, and zoological specimens—one of which was the stuffed body of the last dodo ever seen in Europe; but by 1755 the stuffed dodo was so moth-eaten that it was destroyed, except for its head and one claw. -
Commencement 2015
Commencement 2015 School of Arts and Sciences School of Engineering School of Medicine and Sackler School of Graduate Biomedical Sciences School of Dental Medicine The Fletcher School of Law and Diplomacy Cummings School of Veterinary Medicine The Gerald J. and Dorothy R. Friedman School of Nutrition Science and Policy commencement.tufts.edu Produced by Tufts Print and Marketing Communications Tufts Prints Green. Printed on recycled paper. 8593 2015 Table of Contents Welcome from the President 5 Overview of the Day 7 Graduation Ceremony Times and Locations 8 University Commencement 11 Dear Alma Mater 13 Tuftonia’s Day Academic Mace Academic Regalia Recipients of Honorary Degrees 14 School of Arts and Sciences 19 Graduate School of Arts and Sciences School of Engineering School of Medicine and Sackler School 63 of Graduate Biomedical Sciences Public Health and Professional 74 Degree Programs School of Dental Medicine 83 The Fletcher School of Law 95 and Diplomacy Cummings School of Veterinary Medicine 109 The Gerald J. and Dorothy R. Friedman 117 School of Nutrition Science and Policy COMMENCEMENT 2015 3 Welcome from the President This year marks the 159th Commencement exercises held at Tufts University. This is always the high point of the academic year, and we welcome all of you from around the world who are here for this joyous occasion—the culmination of our students’ intellectual and personal journeys. Today’s more than 2,500 graduates arrived at Tufts with diverse backgrounds and perspectives. They have followed rigorous courses of study on our three Massachusetts campuses while enriching the life of our academic community. -
Miszellaneen Miscellanea
miszellaneen MISCELLANEA c.g. boerner in collaboration with harris schrank fine prints Israhel van Meckenem ca. 1440–45 – d. Bocholt 1503 1. Die Auferstehung – The Resurrection (after the Master E.S.) ca. 1470 engraving with extensive hand-coloring in red, blue, green, reddish-brown and gold leaf; 94 x 74 mm (3 11�16 x 2 ⅞ inches) Lehrs and Hollstein 140 provenance C.G. Boerner, Leipzig, sale 153, May 3–4, 1927, lot 43 sub-no. 49 (ill. on plate 3) S.F.C. Wieder, Noordwijk, The Netherlands William H. Schab Gallery, New York, cat. 40 [1963], no. 64 (the still-intact manuscript), the Meckenem ill. on p. 69 private collection, Switzerland Sotheby’s, London, December 4, 1969, lot 18 William H. Schab Gallery, New York, cat. 52, 1972, no. 46 (ill. in color) C.G. Boerner, Düsseldorf, acquired April 25, 1972 private collection, Germany Sotheby’s, London, December 3–4, 1987, lot 579 (GBP 27,500) private collection Unikum. Very little is known about the early life of Israhel van Meckenem. His family probably came from Meckenheim near Bonn. He might have received his first artistic training with the so- called Master of the Berlin Passion who was active in the Rhine-Meuse region in 1450–70 (and whom Max Geisberg even tried to identify as Van Meckenem’s father). This is supported by 13 copies that Van Meckenem made after prints by this early “Anonymous.” However, the Master E.S. played an even more important role in the formation of the young artist. He worked in the Upper Rhine valley, most likely in Strasbourg, and his importance for the development of the relatively new medium of engraving can hardly be overestimated. -
Museum of Art and Archaeology 2015-2016
ANNUAL REVIEW Museum of Art and Archaeology 2015-2016 ASHMOLEAN.ORG Jan van Kessel (I) (1626–1679), Flowers and Insects. ANNUAL REVIEW Museum of Art and Archaeology 2015-2016 Discover more inspiration, news and exclusive content on our social channels. @AshmoleanMuseum Published by the Ashmolean Museum Copyright 2017 The Ashmolean Museum The Ashmolean Museum Beaumont Street The Ashmolean is Oxford OX1 2PH supported by: Telephone: +44 (0)1865 278000 [email protected] www.ashmolean.org All information is believed to be correct at the time of going to print (May 2017). Every effort has been made to verify details and no responsibility is taken for any errors or omissions, or any loss arising therefrom. Unless otherwise stated all Images © Ashmolean Museum, University of Oxford. Every effort has been made to locate the copyright owners of images included in this report and to meet their requirements. The publishers apologise for any omissions, which they will be pleased to rectify at the earliest opportunity. Edited and designed by Theo Sundh Reviewed by Natasha Podro and Taissa Csaky Cover photo by Ian Wallman 2016 ASHMOLEAN.ORG CONTENTS August 2015 to July 2016 ANNUAL REVIEW 06-10 INTRODUCTION 06 Vice-Chancellor's Foreword 08 Chairman's Foreword 10 Director’s Report 11 The Museum in Numbers 12-19 EXHIBITIONS AND DISPLAYS 13 Major Exhibitions 18 Free Exhibitions and Displays 20-23 NEW GALLERIES AND PROJECTS 23 Loans and Touring Exhibitions 24-37 COLLECTIONS AND RESEARCH 25 Care of the Collections 27 Research 28 Acquisition Highlights 38-43 TEACH AND INSPIRE 39 Learning for All 39 University Teaching 40 Cross-Disciplinary Teaching 41 Schools 42 Families 42 Secondary and Young People 42 Engaging New Audiences 43 LiveFriday 44-49 SUPPORTING THE MUSEUM 45 The Impact of your Support 45 The Ashmolean Fund 46 Supporting all we do William Burges (1827–1881), Detail from William Burges' Great Bookcase. -
Oxford in Brief 2020 1
in brief 2020 Oxford in Brief 2020 1 Contents Institutional Information Who’s who 2 History of the University 3 Structure of the University 5 Finance and funding 8 Education 13 The student body 14 Resources for learning 14 Recruitment and selection 17 Student support 18 Continuing education 19 After Oxford 20 Taking Oxford’s education mission worldwide 22 Research and innovation 25 Scope of research 26 Resources for research 30 Recognition of research 32 Research income 32 Oxford University Press 33 Commercialisation of research 34 Engagement 37 Public engagement with research 37 Cultural engagement 38 Economic engagement 39 Engagement in health 41 Student engagement 42 Oxford University Press 42 Reference 45 Total students 45 Students by nationality 45 Postgraduates by academic division 45 Undergraduates by subject 46 Students by college/permanent private hall 47 International students 48 Staff numbers 50 Colleges and permanent private halls 51 2 Oxford in Brief 2020 | Institutional Information Who’s who Chancellor: The Rt Hon the Lord Patten of Barnes, CH Vice-Chancellor: Professor Louise Richardson, AAAS, AcSS, FRSE, RIIA Pro-Vice-Chancellors: Development and External Affairs: Dr Robert Easton Education: Professor Martin Williams Innovation: Professor Chas Bountra Planning and Resources: Dr David Prout People and Gardens, Libraries and Museums: Professor Anne Trefethen Research: Professor Patrick Grant Rt Hon Dame Elish Angiolini, DBE, QC, FRSA, FRSE, Principal of St Hugh’s College Professor Roger Goodman, FAcSS, Warden of St Antony’s -
The National Gallery Review April 2006
NG Review 2007 cover pp1-4 proof 4.qxd 21/8/07 15:49 Page 1 the national gallery review gallery the national 2007 april 2006 ‒ march gallery the national THE NATIONAL GALLERY REVIEW april 2006 ‒ march 2007 NG Review 2007 cover pp1-4 proof 4.qxd 15/8/07 18:49 Page 2 © The National Gallery 2007 Photographic credits ISBN 978-1-85709-406-0 All images © The National Gallery, London, unless ISSN 0143 9065 stated below Published by the National Gallery Company on behalf of the Trustees Front cover: Giovanni Paolo Panini, The Lottery in The National Gallery Piazza di Montecitorio (detail), 1743–4. Trafalgar Square London WC2N 5DN Back cover: Visitors at the Velázquez exhibition looking at Philip IV as a Hunter, painted about 1636 Tel: 020 7747 2885 and lent by Museo Nacional del Prado, Madrid. www.nationalgallery.org.uk Photo © The National Gallery, London. [email protected] p. 10 Printed and bound by Westerham Press Ltd. St Ives plc Manet’s drawing Aux Tuileries © Private collection Designed by Tim Harvey p. 14 Simone dei Crocefissi, The Dream of the Virgin © The Society of Antiquaries of London The Le Nain Brothers, A Quarrel © Amgueddfa Cymru – National Museum Wales pp. 15–16 All © Amgueddfa Cymru – National Museum Wales p. 17 Jan van de Cappelle, A Calm © Amgueddfa Cymru – National Museum Wales Hans Burgkmair, Portrait of Jakob Fugger and his Wife © Private collection p. 18 Claude-Oscar Monet, The Japanese Bridge © Private collection Vincent van Gogh, An Old Woman of Arles © The Van Gogh Museum Amsterdam (Vincent Van Gogh Foundation) p. -
Lookin Thinkin Speakin
Sections 1 PROGRAMME LOOKing 2 STUDENTS 3 PARTNERSHIPS THINKing 4 SUPPORTERS SPEAKing ARTiculation: getting young people talking about the arts 1 Welcome Learning to look and speak about art has We now involve more than 4,000 students always been the mantra of the Roche Court in a rich and diverse annual programme. Educational Trust. From this has grown Our training for undergraduates helps them ARTiculation, a public speaking competition to develop skills so they can mentor future for students aged 16-19 years old, from participants in the ARTiculation Prize and both the state maintained and independent our ambition for the future is to develop sectors. They are invited to deliver opportunities for the expanding alumni ten-minute presentations in front of an network. audience, about a work of art, architecture or an artefact of their choice. Through all our activities we aim to ensure there is a cohort of young articulate people The first competition took place at the with the confidence and ability to express New Art Centre in 2006, and since then a themselves. This is a skill which my fellow small dedicated team there has developed Trustees and I know will help them in all ARTiculation nationally. ARTiculation has aspects of their lives. been embraced by a network of museums throughout the country, culminating in the Final at Clare College, Cambridge. In addition, ARTiculation Ireland, ARTiculation Scotland and, in conjunction with the British Council, ARTiculation Italy, now all take place. In all these competitions, adjudicators are asked to assess each presentation as a whole, looking at content, structure, delivery Bill Woodrow and the speaker’s original approach and Chairman unique potential. -
Appealing and Revealing Treasuring the Past and Embracing the Future Canvas Arts & Culture by Saxton Bampfylde Welcome
ARTS & CULTURE EDITION SUMMER 2017 CANVAS BY APPEALING AND REVEALING TREASURING THE PAST AND EMBRACING THE FUTURE CANVAS ARTS & CULTURE BY SAXTON BAMPFYLDE WELCOME Welcome to the Arts and Culture Summer 2017 edition of Canvas, the insights update from Saxton Bampfylde. Our aim is to share interesting thoughts and perspectives on topics and issues that are relevant and current in your sector. We very much welcome any thoughts, comments, or inputs you would like to share. We hope that you enjoy Canvas. CONTENTS INTERVIEW WITH DR. XA STURGIS, MAKING (GREAT) DRAMA OUT Pg 4 DIRECTOR, ASHMOLEAN MUSEUM Pg 8 OF A CRISIS – IAN SQUIRES, CURVE, LEICESTER Pg 14 KEY APPOINTMENTS Pg 15 NEWS ROUND-UP Pg 10 TEAM INSIGHT: DR. JENNIFER BARNES 2 CANVAS EDITION OVERVIEW EDITION OVERVIEW Stephen Bampfylde Chairman, Saxton Bampfylde m [email protected] he Arts and Culture sector is the founding principle and vision of Ashmolean Museum at the University of about as broad as any you each organisation, holding dear to that Oxford. Talking about the relationship can find, with extraordinary individuality, but also having a very clear between a museum and a higher depth and reach. The variety of strategy for how to stay on course to education institution, Xa looks at how Tinstitutions, venues, operational models, deliver that vision is becoming crucial. new doors and worlds can be opened cultural disciplines, skills and most The absolute need to maximise the up, whilst reflecting on the challenges of importantly people working within them assets of each organisation, and spend delivering this. is almost endless. -
Convcultcoursetext.8.23.09 Jp Introduction
ConvCultCourseText.8.23.09 jp ART THROUGH TIME: A GLOBAL VIE Introduction What is it about images of other people and, in particular, their faces, that makes looking at them so compelling? And why has the human face been such a prevalent theme throughout the history of art? Poets and artists have often referred to the human face as a mirror of one’s soul or spirit. The 19th-century German philosopher Arthur Schopenhauer said, “A man's face…is a compendium of everything his mouth will ever say, in that it is the monogram of all this man's thoughts and aspirations.”1 Faces serve as an important means of recognition and identification. They are the first things to which newborn infants respond, having learned to recognize their mother’s faces intuitively, without language or conscious thought. Faces are also the primary subject seen in the earliest drawings of young children. During the pre-schematic stage of development, when three- to four-year-olds recognize that a drawn symbol can stand for the real thing, their first attempts will begin with a circle for a head, later adding two vertical lines for feet.2 Beyond the permanent physiognomy of the features, faces allow humans to communicate in a way that verbal language cannot. Facial expressions are often the basis on which we form impressions of such characteristics as friendliness, hostility, trustworthiness, arrogance, and status, which, in some instances, can be crucial to survival. The face also enables humans to perceive or imagine another individual’s emotional state of mind.