Against the background of the Second World War and post-war cultural change in Australia, this review article discusses the establishment of the profession of art history and art curatorial scholarship in Australia in the 1940s and 1950s. The key figures in this transformation were Franz Philipp and Ursula Hoff (European ‘savant’ refugees from Nazism and anti-Semitism), and the British scholar Joseph Burke (appointed as Herald Professor of Fine Arts at Melbourne University). These figures played pivotal roles in Sir Keith Murdoch's (...) ‘civilizing mission’ to reform Australian culture – a mission centred on Melbourne University and the National Gallery of Victoria under its new director, Daryl Lindsay. Within the context of the ‘culture wars’ dividing the Australian art world at this time, these reformers and pioneering scholars found themselves opposed by a radical art avant-garde under the leadership of the art patron John Reed. The work of key modernist Australian artists, above all Sidney Nolan and Russell Drysdale, became touchstones for radical and conservative positions in this conflict. (shrink)

Throughout his long and prolific career, Edward Shils brought an extraordinary knowledge of academic institutions to discussions about higher education. The Calling of Education features Shils's most illuminating and incisive writing on this topic from the last twenty-five years of his life. The first essay, "The Academic Ethic," articulates the unique ethical demands of the academic profession and directs special attention to the integration of teaching and research. Other pieces, including Shils's renowned Jefferson lectures, focus on perennial issues in higher (...) learning: the meaning of academic freedom, the connection between universities and the state, and the criteria for appointing individuals to academic positions. Edward Shils understood the university as a great symphonic conductor comprehends the value of each instrument and section, both separately and in cooperation. The Calling of Education offers Shils's insightful perspective on problems that are no less pressing than when he first confronted them. Edward Shils (1910-1995) was distinguished service professor in the Committee on Social Thought and the department of sociology at the University of Chicago. Among his many books published by the University of Chicago Press are Portraits: A Gallery of Intellectuals and the three-volume Selected Papers of Edward Shils. (shrink)

The essays collected in this special issue of Critical Inquiry are devoted to reflection on the shifts in photographically based art practice, exhibition, and reception in recent years and to the changes brought about by these shifts in our understanding of photographic art. Although initiated in the 1960s, photography as a mainstream artistic practice has accelerated over the last two decades. No longer confined to specialist galleries, books, journals, and other distribution networks, contemporary art photographers are now regularly the subject (...) of major retrospectives in mainstream fine-art museums on the same terms as any other artist. One could cite, for example, Thomas Struth at the Metropolitan Museum in New York , Thomas Demand at the Museum of Modern Art , or Jeff Wall at Tate Modern and MoMA . Indeed, Wall's most recent museum show, at the time of writing, The Crooked Path at Bozar, Brussels , situated his photography in relation to the work of a range of contemporary photographers, painters, sculptors, performance artists, and filmmakers with whose work Wall considers his own to be in dialogue, irrespective of differences of media. All this goes to show that photographic art is no longer regarded as a subgenre apart. The situation in the United Kingdom is perhaps emblematic of both photography's increasing prominence and its increased centrality in the contemporary art world over recent years. Tate hosted its first ever photography survey, Cruel and Tender, as recently as 2003, and since then photography surveys have become a regular biannual staple of its exhibition programming, culminating in the appointment of Tate's first dedicated curator of photography in 2010. A major shift in the perception of photography as art is clearly well under way. (shrink)

The paper aims to explore the relationships that exist between party structure, party system, patronage, and the appointments of the political elites. It is focused on the extent to which political parties can control the allocation of jobs as well as find out which are the institutions over whom the political parties can exercise power; the extent to which historical legacies influence patronage patterns; the extent to which party patronage is exercised in a ‘majoritarian’ as opposed to a more ‘consensual’ (...) manner across the spectrum of political parties; and the relationship that exist between the structure of the party, the appointment of political elites and patronage. The conclusion is that the party in public office and its allies in the coalition cabinet control the post of ministers and vice-ministers. While these last ones control the posts of their subordinates, it is hard to understand whether they select the employees from the party pool or from their personal networks. The other finding is that the structure of the party creates strong links between patronage and appointment, these last ones done with the scope of having control over government resources and distribution of resources. On the other hand, the research didn’t prove any link between historical legacies and patronage and party system and patronage. (shrink)

Some important results about art gallery theorems are proposed, starting from Chvátal’s essay, using also polygon triangulations and orthogonal polygons.

Companies that are serious about corporate governance and business ethics are turning their attention to gender diversity at the most senior levels of business . Board gender diversity has been the subject of several studies carried out by international organizations such as Catalyst , the World Economic Forum , and the European Board Diversity Analysis . They all lead to reports confirming the overall relatively low proportion of women on boards and the slow pace at which more women are being (...) appointed. Furthermore, the proportion of women on corporate boards varies much across countries. Based on institutional theory, this study hypothesizes and tests whether this variation can be attributed to differences in cultural settings across countries. Our analysis of the representation of women on boards for 32 countries during 2010 reveals that two cultural characteristics are indeed associated with the observed differences. We use the cultural dimensions proposed by Hofstede to measure this construct. Results show that countries which have the greatest tolerance for inequalities in the distribution of power and those that tend to value the role of men generally exhibit lower representations of women on boards. (shrink)

Danto's Gallery of Indiscernibles thought experiment only works if we make assumptions about the cognitive impenetrability of perception, which we have strong empirical reasons to reject.

In lieu of an abstract, here is a brief excerpt of the content:Virtual Gallery*Neil Hertz Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View (...) full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz. Click for larger view View full resolutionPhotograph by Neil Hertz.Footnotes* The photographs on the cover and back cover and pages 2, 14, 29, 43, 53, 66, and 80 were taken in Baltimore by Neil Hertz.Copyright © 1999 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryDylan Litchman Click for larger view View full resolutionFront Cover.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 1.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 2.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 3.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 4.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 5.Photograph by Dylan Litchman. (...) Click for larger view View full resolutionFigure 6.Photograph by Dylan Litchman. Click for larger view View full resolutionFigure 7.Photograph by Dylan Litchman. Click for larger view View full resolutionBack Cover.Photograph by Dylan Litchman.Copyright © 1997 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryDylan Litchman Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionThe photographs in this issue were taken in and around Ithaca in 1999 by Dylan Litchman. He studied (...) photography at Fordham University and lives in Ithaca.Copyright © 2000 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryPhotographs are by Christine Chin, a student in the MFA program in Photography at Purdue University. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger (...) view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryPhotographs are by Christine Chin, a student in the MFA program in Photography at Purdue University. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger (...) view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GallerySarah Soquel MorhaimPhotographs in this issue are by Sarah Soquel Morhaim, a student at Cornell University. Morhaim is currently studying fine arts, political theory, and philosophy. The images were photographed at Coney Island, New York, and Ocean City, Maryland. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click (...) for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2000 The Johns Hopkins University Press... (shrink)

"Appointment Denied is the true story behind the Bertrand Russell/City College controversy, where academic freedom, religious fervor, and political expediency combined to form a volatile mixture that posed a palpable threat to higher education in America."--BOOK JACKET.

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Emoretta Yang (...) Photographs by Emoretta Yang. She lives in Ithaca, New York.Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang Click for larger view View full resolutionFront Cover.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 1.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 2.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 3.Artwork by Emoretta Yang. Click for larger view View full resolutionFigure 4.Artwork by Emoretta Yang.Copyright © 1998 The Johns Hopkins University Press...

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang Click for larger view View full resolutionFront Cover Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang. Click for larger view View full resolutionPhotograph by (...) Emoretta Yang. Click for larger view View full resolutionPhotograph by Emoretta Yang.Copyright © 1998 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryEmoretta Yang (bio) Click for larger view View full resolutionFront Cover. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionBack Cover.Emoretta (...) Yang Emoretta Yang lives in Ithaca, New York, and is a frequent contributor to diacritics. Her photographs and captions are on pages 2, 4, 19, 35, 51, 62, and 88. The cover and back cover photographs are also hers.Copyright © 1999 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryCarlo Zei Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Carlo Zei took (...) these photographs at Forte Belvedere in Florence, at the seaside at Forte dei Marmi, and in Prato. He is a PhD candidate in Comparative Literature at Cornell University and has published a few short works of fiction.Mario Ceroli’s sculptures are reproduced by kind permission of the artist.Copyright © 1997 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryHans Bellmer (bio) Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8. Click (...) for larger view View full resolutionFigure 9.Hans Bellmer Hans Bellmer (1902–1975), whose early work was published by Le Minotaure, is perhaps best known for Die Puppe, his variations on the Doll. The engravings in this issue were made for the 1955 edition of Georges Bataille’s novel Madame Edwarda [© 1996 Artists Rights Society (ARS), N. Y./ADAGP, Paris].Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryMao Ze Dong Click for larger view View full resolutionFigure 1. Click for larger view View full resolutionFigure 2. Click for larger view View full resolutionFigure 3. Click for larger view View full resolutionFigure 4. Click for larger view View full resolutionFigure 5. Click for larger view View full resolutionFigure 6. Click for larger view View full resolutionFigure 7. Click for larger view View full resolutionFigure 8.Fragments of (...) Mao Ze Dong’s poetry in his own handwriting are from a little red book of his poems. The superimposed characters, when read together, evoke a popular Chinese saying: “A monk holding an umbrella—no hair, no sky (no law, no higher principle).”Artwork for this issue was censored, pilfered, and assembled by the Committee for Global Enlightenment. Long live the people!Copyright © 1996 The Johns Hopkins University Press... (shrink)

Objective—To determine the prevalence of, and attitudes towards, observed and personal research misconduct among newly appointed medical consultants. Design—Questionnaire study.Setting—Mersey region, United Kingdom.Participants—Medical consultants appointed between Jan 1995 and Jan 2000 in seven different hospital trusts (from lists provided by each hospital's personnel department). Main outcome measures—Reported observed misconduct, reported past personal misconduct and reported possible future misconduct.Results—One hundred and ninety-four replies were received (a response rate of 63.6%); 55.7% of respondents had observed some form of research misconduct; 5.7% of (...) respondents admitted to past personal misconduct; 18% of respondents were either willing to commit or unsure about possible future research misconduct. Only 17% of the respondents reported having received any training in research ethics. Anaesthetists reported a lower incidence of observed research misconduct (33.3%) than the rest of the respondents (61.5%) (p<0.05). Conclusion—There is a higher prevalence of observed and possible future misconduct among newly appointed consultants in the UK than in the comparable study of biomedical trainees in California. Although there is a need for more extensive studies, this survey suggests that there is a real and potential problem of research misconduct in the UK. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJohn Clair Miller* Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair (...) Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller.Footnotes* The photographs in this issue were taken by John Clair Miller, an architect who has a practice in the upstate New York area and is currently a Professor of Design in the Department of Architecture at Cornell University. The black border which frames each image was made in the darkroom by printing the edge of the negative at the same time as the picture was printed. These photographs are part of a series, “Reading the Surface,” and all are “Untitled.” Professor Miller began this series in 1977 on the coast of Maine, Down East.Copyright © 1998 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryThe collages were constructed by John Clair Miller, an architect and currently a Professor of Design in the Department of Architecture at Cornell University. They are part of a series produced in Rome, Italy, while teaching in the Cornell Architecture Program in Rome, Fall 1998. The material used in the compositions was collected from layers of old and recent posters mounted in the streets of Rome, and they (...) were composed in a sketchbook five by eight inches. They are formal compositions without subject matter. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2001 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJessica Evett-Miller (bio) Click for larger view View full resolutionImage 1. Click for larger view View full resolutionImage 2. Click for larger view View full resolutionImage 3. Click for larger view View full resolutionImage 4. Click for larger view View full resolutionImage 5. Click for larger view View full resolutionImage 6. Click for larger view View full resolutionImage 7. Click for larger view View full resolutionImage 8. Click (...) for larger view View full resolutionImage 9. Click for larger view View full resolutionImage 10. Click for larger view View full resolutionImage 11. Click for larger view View full resolutionImage 12. Click for larger view View full resolutionImage 13. Click for larger view View full resolutionImage 14. Click for larger view View full resolutionImage 15. Click for larger view View full resolutionImage 16.Jessica Evett-Miller Jessica Evett-Miller took these photographs during a trip to Italy and Sicily and assembled them for her senior project at the Alternative Community School in Ithaca’ New York. Now a freshman at Cornell University, she is planning to design an independent major in visual studies. She would like to dedicate thesephotographs toherfather, John Miller, and to thank him for his inspiration.She paired the front and back cover images (the first and the last) to create an interplay between the two. They function together rather than separately.Copyright © 1996 The Johns Hopkins University Press... (shrink)

We live in a time when museum curators and gallery directors in the English-speaking world have to a distressing degree lost faith in the power of their own collections. Cowed by accusations of elitism, intimidated by nonsense academic art theory, worndown by guilt-inducing postcolonial victimology, they succumb to pressures either on the one hand to dumb down their presentations, or on the other hand to politicise them.

Merleau-Ponty's phenomenological ontology engages deeply with visual art, and this aspect of his work remains significant not only to philosophers, but also to artists, art theorists, and critics. Until recently, scholarly attention has been focused on the artists he himself was inspired by and wrote about, chiefly Cézanne, Klee, Matisse, and Rodin. Merleau-Ponty at the Gallery expands and shifts the focus to address a range of artists (Giorgio Morandi, Kiki Smith, Cy Twombly, Joan Mitchell, and Ellsworth Kelly) whose work (...) came to prominence in the second half of the twentieth century and thus primarily after the philosopher's death. Véronique M. Fóti does not confine her analyses to Merleau-Ponty's texts (which now importantly include his late lecture courses), but also engages directly with the art. Of particular concern to her is the art's ethical bearing, especially as related to animal and vegetal life. The book's concluding chapter addresses the still-widespread rejection of beauty as an aesthetic value. (shrink)

The coronavirus epidemic is not just a biological phenomenon which affects humans: it is also a moment of a profound global and ecological crisis that includes many human and nonhuman actors. To confront the crisis, a radical philosophical change is needed, which penetrates to natural, economic, and cultural processes. The amassing of dictatorial powers of state apparatuses evoked by the pandemic highlights their basic impotence and the fact that the system as we know it cannot continue in its existing liberal-permissive (...) form. While the final outcome is uncertain what is most probable is that a new barbarian capitalism will prevail: many old and weak will be sacrificed and let to die, workers will have to accept much lower standards of living, digital control of our lives will remain a permanent feature, and class distinctions will become much more than now a matter of life and death. (shrink)

: Catharine Beecher held that women possessed a moral power that could allow them to play a vital role in the moral and social progress of nineteenth century America. Problematically, this power could only be obtained through their subordination to the greatest social happiness. I wish to argue that this notion of subordination, properly framed within her ethico-religious system, can in fact lead to economic independence for women and a surprisingly robust conception of moral power.

Catharine Beecher held that women possessed a moral power that could allow them to play a vital role in the moral and social progress of nineteenth century America. Problematically, this power could only be obtained through their subordination to the greatest social happiness. I wish to argue that this notion of subordination, properly framed within her ethico-religious system, can in fact lead to economic independence for women and a surprisingly robust conception of moral power.

For decades historians of science and science writers in general have maintained that Charles Darwin was not the ‘naturalist’ or ‘official naturalist’ during the 1831–1836 surveying voyage of HMS Beagle but instead Captain Robert FitzRoy’s ‘companion’, ‘gentleman companion’ or ‘dining companion’. That is, Darwin was primarily the captain’s social companion and only secondarily and unofficially naturalist. Instead, it is usually maintained, the ship’s surgeon Robert McCormick was the official naturalist because this was the default or official practice at the time. (...) Although these views have been repeated in countless accounts of Darwin’s life, this essay aims to show that they are incorrect. (shrink)

Simonet, Emanuel Nicolas Cortes The Internet has made seeking for health information easy and convenient. This information provides medical knowledge which has the potential to empower both patients and health professionals. However, It is concerning that patients may attempt to use this type of information for self-diagnostic purposes, particularly those who are unfamiliar with medical terminology. Understanding web- based information effectively is most important to enable appropriate and informed healthcare decisions. Consequently, a new role for health professionals is indicated, requiring (...) them to become familiar with the health information available on the Internet, to direct patients to reliable sources, and to assist them in understanding and interpreting web-based health information. (shrink)

On various occasions when writing previously I’ve recounted a joke about a man who believes himself to be a grain of seed and is taken to a mental institution where the doctors do their best to convince him that he is not a seed but a human being. When they eventually succeed, he is allowed to leave the hospital. But he then returns immediately, trembling with fear. He reports that there is a chicken outside the entrance and he is terrified (...) that it will eat him. “Dear fellow,” says his doctor, “you know very well that you are not a seed but a man.” “Of course, I know that,” replies the patient, “but does the chicken know it?” My Croat friend Dejan Kršić recently sent me a corona-version of this joke: “Hello, my friend!” “O, hello, professor! Why are you wearing a mask? Two weeks ago you were explaining all around that masks don’t protect against the virus?” “Yes, I know they don’t work, but does the virus know it?”. (shrink)