This paper examines the meanings and functions of gestures in comedy-related vase-paintings produced in southern Italy and Sicily during the 4th century BC.It discusses to what extent the gestures depicted in these im...This paper examines the meanings and functions of gestures in comedy-related vase-paintings produced in southern Italy and Sicily during the 4th century BC.It discusses to what extent the gestures depicted in these images convey a specific meaning,and to what extent their“reading”depends on the composition as a whole,i.e.,the choice,positioning,and cognitive framework of the pictorial elements such as figures and objects.A first group of gestures indicates communication processes in“conversational”scenes usually with two figures.In these scenes,the meaning of gestures is of low importance,but their relative position within the composition displays which conversation partner dominates the other,often by inverting social hierarchies.The second group consists of more specific gestures that express strong and often negative emotions.They originate from tragedy-related vase-paintings,and this incongruence between tragic gesture and comic context causes a comic effect.In general,gestures are just one part of the cognitive framework of comedy-related vase-paintings which refer to comedy;however,they create a complex network of cognitive frames and thus evoke independent comic narratives.展开更多
The intellectual background of the concept of force in the dispute between Leibniz and Clarke has not received enough scholarly attention. Vailati＇s monograph, which is the most important study of the Leibniz-Clarke ...The intellectual background of the concept of force in the dispute between Leibniz and Clarke has not received enough scholarly attention. Vailati＇s monograph, which is the most important study of the Leibniz-Clarke correspondence, focuses on a non-theological dimension in terms of the concept of force in this debate. Based on this perspective, Vailati＇s conclusion is that Clarke＇s understanding of force was totally different from that of Newton. However, the historical context shows that this is not the case. Clarke＇s concept of motive force bore a strong resemblance to that of Newton, according to which force was an active principle that had been endowed upon matter at the beginning of God＇s creation. Furthermore, the close link between force, matter and God＇s providence had a long tradition of debate between Cartesian and Gassendian philosophers since early modem times. The different concepts of force dividing Cartesian and Gassendian philosophers were actually related to, and conditioned by, their underlying fundamental theological differences. The concept of force in the Leibniz-Clarke controversy, accordingly, could be regarded as along the lines of the earlier disputes between Cartesian and Gassendian philosophers.展开更多
文摘This paper examines the meanings and functions of gestures in comedy-related vase-paintings produced in southern Italy and Sicily during the 4th century BC.It discusses to what extent the gestures depicted in these images convey a specific meaning,and to what extent their“reading”depends on the composition as a whole,i.e.,the choice,positioning,and cognitive framework of the pictorial elements such as figures and objects.A first group of gestures indicates communication processes in“conversational”scenes usually with two figures.In these scenes,the meaning of gestures is of low importance,but their relative position within the composition displays which conversation partner dominates the other,often by inverting social hierarchies.The second group consists of more specific gestures that express strong and often negative emotions.They originate from tragedy-related vase-paintings,and this incongruence between tragic gesture and comic context causes a comic effect.In general,gestures are just one part of the cognitive framework of comedy-related vase-paintings which refer to comedy;however,they create a complex network of cognitive frames and thus evoke independent comic narratives.
文摘The intellectual background of the concept of force in the dispute between Leibniz and Clarke has not received enough scholarly attention. Vailati＇s monograph, which is the most important study of the Leibniz-Clarke correspondence, focuses on a non-theological dimension in terms of the concept of force in this debate. Based on this perspective, Vailati＇s conclusion is that Clarke＇s understanding of force was totally different from that of Newton. However, the historical context shows that this is not the case. Clarke＇s concept of motive force bore a strong resemblance to that of Newton, according to which force was an active principle that had been endowed upon matter at the beginning of God＇s creation. Furthermore, the close link between force, matter and God＇s providence had a long tradition of debate between Cartesian and Gassendian philosophers since early modem times. The different concepts of force dividing Cartesian and Gassendian philosophers were actually related to, and conditioned by, their underlying fundamental theological differences. The concept of force in the Leibniz-Clarke controversy, accordingly, could be regarded as along the lines of the earlier disputes between Cartesian and Gassendian philosophers.
