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SummaryThis report describes a family planning KAP survey conducted in 2000 households in rural Ghana between April and October, 1972, as one of the Danfa Project’s baseline studies. Subsequent re-surveys were done in 1975 and 1977 to assess changes related to project health education and family planning programmes.Reported knowledge about family planning was three times that reported in previous studies in rural Ghana. About 70% of the respondents approve of family planning, but most want a large family, with over six (...) children. At all ages, males wanted two or three more children than did women.The current 3% population growth rate in Ghana may increase due to continued early age of marriage, the rising size of the reproductive age group and improved pregnancy outcome.Although the expected relationships between knowledge and use of family planning and age and education were present, these differentials were typically only 10–15%. In the project area it appears that women will be most important in making the decision to practise family planning, although motivation of males is being stressed.Most villagers hear about family planning through informal, word-of-mouth channels with relatively little use of news media, family planning workers or clinic health personnel. To improve the practice of family planning, village-based health educators are working with volunteers including traditional birth attendants, community leaders, teachers and church groups. (shrink)

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This article offers a feminist perspective on contract theories in law,economics and law-and-economics. It identifies masculine traits presentcontract theories in all three disciplines. It then describes andassesses some developments that appear to be ‘feminising’: Therecognition of the importance of social norms in contract theory andtheories of contract as relationship. The article's main claim is that amasculine model of decision-making persists even within the less overtlymasculine models of contract. The problem of sexually transmitted debtresulting from a surety contract is analysed in (...) detail as a specificexample supporting the article's general argument. The article concludesthat the way forward is to be found in a recognition of other ways ofmaking decisions. (shrink)

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Conclusion and PostscriptThis paper opened with a quotation from the credo of the Institute of Directors: “The success of a companies depends on the leadership and performance of directors.” The performance of the group of male directors at the “Enterprise and Governance” conference has revealed patriarchal ideology exercising hegemonic control of the corporate culture and strongly resisting any challenges to its dominant position.

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The Hatata Inquiries are two extraordinary texts of African philosophy composed in Ethiopia in the 1600s. Written in the ancient African language of Geʿez (Classical Ethiopic), these explorations of meaning and reason are deeply considered works of rhetoric. They advocate for women's rights and rail against slavery. They offer ontological proofs for God and question biblical commands while delighting in the language of Psalms. They advise on right living. They put reason above belief, desire above asceticism, love above sectarianism, and (...) the natural world above the human. They explore the nature of being as well as the nature of knowledge, the human, ethics, and the human relation with the divine. They are remarkable examples of something many assume doesn't exist: early written African thought. This accessible English translation of the Hatata Inquiries, along with extensive footnotes documenting the cultural and historical context and the work's many textual allusions, enables all to read it and scholars to teach with it. The Hatata Inquiries are essential to understanding the global history of philosophy, being among the early works of rational philosophy. The book includes a translation by Ralph Lee with Mehari Worku and Wendy LauraBelcher of the Hatata Zara Yaqob and the Hatata Walda Heywat. The appendices by Jeremy R. Brown provide information on the scribal interventions in and the differences between the manuscripts of the two Hatatas. The book also includes a map, chronology, summary of the translation principles, and a discussion of the authorship debate about the Hatata Inquiries. (shrink)

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We attempt to quantify and qualify the preferences of consumers for beef with a number of environmental and food quality attributes. Our goal is to evaluate the viability of a proposed food co-operative based in the Wood River watershed of southern Saskatchewan, Canada. The food co-operative was designed to provide a price premium to producers who adopted alternative management practices. In addition, the study evaluated the acceptance of a proposed food co-operative by consumer that had environmental interests as compared to (...) the general population. Conjoint analysis was used to determine the trade-off and relative value of beef with the following production and purchasing characteristics: (a) use of hormones, antibiotics and vaccination in production; (b) method of obtaining the beef including monthly or yearly purchase contracts or a local market; (c) price relative to beef purchased from the local grocery store; and (d) impact on the river ecosystem. Consumers from environmental groups had stronger environmental and food quality preferences than individuals from the general population. However, consumers from both groups expressed a willingness to pay higher prices for food that had these attributes. It was uncertain whether the magnitude of the premium, in combination with a desire not to enter a long-term purchasing commitment, would be large enough to encourage farmers to adopt the alternative management. (shrink)

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BackgroundThe use of genetic test results in risk-rated insurance is a significant concern internationally, with many countries banning or restricting the use of genetic test results in underwriting. In Australia, life insurers’ use of genetic test results is legal and self-regulated by the insurance industry (Financial Services Council (FSC)). In 2018, an Australian Parliamentary Inquiry recommended that insurers’ use of genetic test results in underwriting should be prohibited. In 2019, the FSC introduced an industry self-regulated moratorium on the use of (...) genetic test results. In the absence of government oversight, it is critical that the impact, effectiveness and appropriateness of the moratorium is monitored. Here we describe the protocol of our government-funded research project, which will serve that critical function between 2020 and 2023.MethodsA realist evaluation framework was developed for the project, using a context-mechanism-outcome (CMO) approach, to systematically assess the impact of the moratorium for a range of stakeholders. Outcomes which need to be achieved for the moratorium to accomplish its intended aims were identified, and specific data collection measures methods were developed to gather the evidence from relevant stakeholder groups (consumers, health professionals, financial industry and genetic research community) to determine if aims are achieved. Results from each arm of the study will be analysed and published in peer-reviewed journals as they become available.DiscussionThe A-GLIMMER project will provide essential monitoring of the impact and effectiveness of the self-regulated insurance moratorium. On completion of the study (3 years) a Stakeholder Report will be compiled. The Stakeholder Report will synthesise the evidence gathered in each arm of the study and use the CMO framework to evaluate the extent to which each of the outcomes have been achieved, and make evidence-based recommendations to the Australian federal government, life insurance industry and other stakeholders. (shrink)

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A prefrontal control system that is less mature than the limbic reward system in adolescence is thought to impede self-regulatory abilities, which could contribute to poor dietary choices and obesity. We, therefore, aimed to examine whether structural morphology of the prefrontal cortex and the amygdala are associated with dietary decisions and obesity in children and adolescents. Seventy-one individuals between the ages of 8–22 years participated in this study; each participant completed a computer-based food choice task and a T1- and T2-weighted (...) structural brain scans. Two indices of obesity were assessed, including age- and sex-specific body mass index and waist-to-height ratio. The behavioral task included rating 60 food stimuli for tastiness, healthiness, and liking. Based on each participant’s self-ratings, 100 binary food choices were then made utilizing a computer mouse. Dietary “self-control” was calculated as the proportion of trials where the individual chose the healthier food item over the total number of trials. Cortical thickness and amygdala subnuclei volumes were quantified using FreeSurfer 6.0 and CIT168 atlas, respectively. We found that WHtR was negatively associated with the thickness of bilateral superior frontal, left superior temporal, right insula, and right inferior temporal regions. We also found WHtR to be positively associated with the volume of the central nucleus region of the amygdala, after adjusting for the hemisphere, age, sex, and intracranial volumes. A similar data pattern was observed when BMIz was used. Moreover, we found that across all participants, thinner right superior frontal cortex and larger left CEN volumes predicted lower dietary self-control. These results suggest that differential development of the PFC and amygdala relate to obesity and dietary self-control. Further longitudinal studies are merited to determine causal relationships among altered PFC to amygdala neural circuitry, dietary self-control, and obesity. (shrink)

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The Ḥatäta Zärʾa Yaʿǝqob and Ḥatäta Wäldä Həywät are two remarkable works of philosophy that were until recently virtually unknown to philosophers outside Ethiopia. The first is a philosophical autobiography narrated by the eponymous Zärʾa Yaʿǝqob, a scholar from Aksum in northern Ethiopia, exiled from his home country and forced to take refuge in a mountain cave, where he develops a philosophical system that encompasses a metaphysics of creation, an analysis of the relation between the divine and the human, an (...) account of both epistemology and ethics grounded in the faculty of ləbbuna or ‘reason’, and a strident critique of contemporary social norms. The second text is a much longer companion treatise written by his disciple Wäldä Həywät, and develops the arguments and ideas of Zärʾa Yaʿǝqob into a systematic social ethics. These works, essentially unexamined by philosophers before the past decade, have enjoyed a certain notoriety within the field of Ethiopian-Semitic philology, on account of a century-long controversy concerning their authorship. (shrink)

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Wendy LauraBelcher has done her cultural work by queering Mother Walatta Petros's life in this one of a kind book. The struggles of Mother Walatta Petros and her nuns and their heirs' reluctance to enunciate same sex desire is brought out well in this book and its review in Prabuddha Bharata which has not missed an issue from 1896 to date. The book under review establishes Mother Walatta Petros as an African proto-feminist. This is a very well researched (...) book. The genre of the gädl too is very well brought out byBelcher and Kleiner. Medievalists offline and online really do not as yet think African indigenous works as worthy of their consideration.Belcher overcame many roadblocks to write something actually worth reading. Because of constraint of space, the book could not be reviewed more expansively. While the book is one of its kind in its domain; it is still an act of colonial interference within Ethiopian realpolitiks of religions. I have mentioned in the review that African Roman Catholic Cardinals like Cardinal Sarah insist on washing his Church's dirty linen in private. Now, the question is, would say, Wendy LauraBelcher and Kleiner have the guts and their publisher too, to write about paedophilia in the various American Churches? Is it not convenient to impute lesbianism to Mother Walatta Petros and shy away from writing about female desire say, within the global Loreto Convents? This reviewer presumes from this book that all convents are dens of female desire: some can be enunciated by white folks; some cannot. The question is: why queer Ethiopian spirituality when Mother Walatta Petros is no longer alive to defend herself? (shrink)

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The Hatata Inquiries are two extraordinary texts of African philosophy composed in Ethiopia in the 1600s. Written in the ancient African language of Geʿez (Classical Ethiopic), these explorations of meaning and reason are deeply considered works of rhetoric. They advocate for women’s rights and rail against slavery. They offer ontological proofs for God and question biblical commands while delighting in the language of Psalms. They advise on right living. They put reason above belief, desire above asceticism, love above sectarianism, and (...) the natural world above the human. They explore the nature of being as well as the nature of knowledge, the human, ethics, and the human relation with the divine. They are remarkable examples of something many assume doesn’t exist: early written African thought. This accessible English translation of the Hatata Inquiries, along with extensive footnotes documenting the cultural and historical context and the work’s many textual allusions, enables all to read it and scholars to teach with it. The Hatata Inquiries are essential to understanding the global history of philosophy, being among the early works of rational philosophy. The book includes a translation by Ralph Lee with Mehari Worku and Wendy LauraBelcher of the Hatata Zara Yaqob and the Hatata Walda Heywat. The appendices by Jeremy R. Brown provide information on the scribal interventions in and the differences between the manuscripts of the two Hatatas. The book also includes a map, chronology, summary of the translation principles, and a discussion of the authorship debate about the Hatata Inquiries. (shrink)

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Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and HillBelcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

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This year I made an album with Jay Auborn. One of the tracks features a piano, a violin, a bass synthesizer, some vocals and the sound of me hitting two sticks rhythmically on the side of the piano. It is based on a previous piece of music which I wrote with Andrew Prior called Birdsong and is called Songbird. How did this happen? It started with the playing of a piano riff, a piano riff that was being played because we (...) had just performed Birdsong at a performance in London with pianist, DunstanBelcher. This piano riff was also being played because Jay had just been listening to Nick Cave and Warren Ellis, and I overlaid some violin because I was thinking about Warren Ellis and Alice Coltrane and the Mixolydian mode and In a Silent Way by Miles Davis. But I was probably thinking about Miles Davis because Jay and I were just doing impressions to each other of Miles Davis, imagining we were him writing his autobiography.... Have you ever read his autobiography? Jesus. I played some bass because I had a conversation in the week previously about how I was frightened of bass. So bass was added. In a riff. A bit like Miles Davis, but I was thinking about ‘Atoms for Peace’ and not being scared of bass... (shrink)

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Originally published in 1969. This volume was composed by an eminent Sufi mystic whilst in prison in Baghdad, awaiting execution, in a vain attempt to overthrow his sentence; he was put to death in AD 1311 at the age of 33. This apologia is a document of great poignancy, composed in most elegant Arabic and translated with the customary skill and elegance for which A J Arberry became so well-known.

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While Caesar as man of letters is most famous for his commentarii, it should not be forgotten that he also wrote two volumes on Analogy and was the author of various verses, one set of which, on the comic playwright Terence and his relationship to Menander, runs as follows : tu quoque, tu in summis, o dimidiate Menander,poneris, et merito, puri sermonis amator.lenibus atque utinam scriptis adiuncta foret uis,comica ut aequato uirtus polleret honorecum Graecis neue hac despectus parte iaceres! 5unum (...) hoc maceror ac doleo tibi deesse, Terenti. (shrink)

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Traditionally the domain of scientists, the history of science became an independent field of inquiry only in the twentieth century and mostly after the Second World War. This process of emancipation was accompanied by a historiographical departure from previous, 'scientistic' practices, a transformation often attributed to influences from sociology, philosophy and history. Similarly, the liberal humanists who controlled the Cambridge History of Science Committee after 1945 emphasized that their contribution lay in the special expertise they, as trained historians, brought to (...) the venture. However, the scientists who had founded the Committee in the 1930s had already advocated a sophisticated contextual approach: innovation in the history of science thus clearly came also from within the ranks of scientists who practised in the field. Moreover, unlike their scientist predecessors on the Cambridge Committee, the liberal humanists supported a positivistic protocol that has since been criticized for its failure to properly contextualize early modern science. Lastly, while celebrating the rise of modern science as an international achievement, the liberal humanists also emphasized the peculiar Englishness of the phenomenon. In this respect, too, their outlook had much in common with the practices from which they attempted to distance their project. (shrink)

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This new edition brings Farquharson's authoritative 1944 translation up to date and includes a helpful introduction and notes for the student and general reader. Rutherford includes a selection of letters from Marcus to his tutor Fronto--most of which date from his earlier years--that offer personal detail and help to fill out the somber portrait of the emperor that is found in the Meditations.

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(1976). PROBABILITY, LIKELIHOOD AND SUPPORT: A METAMATHEMATICAL APPROACH TO A SYSTEM OF AXIOMS FOR UPPER AND LOWER DEGREES OF BELIEF. Philosophical Papers: Vol. 5, No. 2, pp. 153-161.

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The article is devoted to the criticism of the revolutionary ideas of Karl Marx by the great political thinker of the 20 th century, Eric Voegelin (1901-1985). The article shows that Voegelin’s criticism of the Marxist doctrine consists of several successive stages. In his works of the late 1930s, he develops the idea of Marxism and communism, which grew up on its ideological basis, as one of the main “political religions” of the XX century. In the 1940s, when Voegelin was (...) living in exile in the United States, he continued to criticize the Marxism of Marx, but on a new theoretical basis, at the center of which was the concept of “gnosticism” as the essence of Western modernity. Since the 1950 s, Voegelin’s interest in the Marxism of Marx gradually faded away, and the Marxist doctrine itself is mostly mentioned as an example of one of the variants of “gnosticism” of the 20th-century politics. As a theoretical horizon of Voegelin’s criticism of the Marxian revolutionary idea, a brief reconstruction of the main propositions of his political theory as an experimental and critical science of the correct order of the soul and society is presented. Voegelin’s thesis that the rise of “gnosticism” is the essence of Western modernity is also analyzed in detail, since it serves as the central point of his interpretation of modern intellectual history. The article shows that the spiritual basis on which the development of the Marxian revolutionary idea took place was the revolt of the young Marx against God and his desire to eliminate the higher, transcendent and creative divine principle from the picture of the world of modern man. Voegelin's final conclusion, proposed by him in the framework of criticism of the Marxian revolutionary idea, is that the political success of Marxism in the XX century is one of the most significant symptoms of the spiritual decline of Western civilization. (shrink)

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