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Possibilities for the advancement of gender equality within Ghana remain limited by the dominance of patriarchal understandings of gender relations, which include the normalization of men’s use of violence against women. Drawing on interviews with men and women in northwestern Ghana, the findings highlight the ways in which, despite the intersecting inequalities which make the achievement of gender equality apparently difficult, articulations of gender equality remain possible. Men and women as gendered categories understand their positions in the family in terms of performing distinct roles and responsibilities which are not necessarily hierarchal, but complementary. The findings demonstrate that women are often accorded respect because they are considered ‘yir-miere’ (translated as backbone of the family) and ‘yir-maale’ (the peace-maker of the house). It is important to recognize how these culturally celebrated titles and statuses often get lost in mainstream scholarship in the West. The study argues that the cultural reverence associated with these statues needs to be recognized as forms of agency and power for women. [ABSTRACT FROM AUTHOR]

The worship of baetyls in antiquity is well documented in the Near East and the Mediterranean, archaeologically as well as historically. While such practices were also common in South‐East Arabia, the archaeological information on it is still very limited. A boulder carved with a 'trident' (a mark familiar from local Abiel coin issues), which came to light at the site of Mleiha, has a circular cavity on the side similar to those visible on stones and on an eagle statue from contemporary ed‐Dur. This association suggests a religious context for the Mleiha petroglyph and, thus, a possible identification as a baetyl. The archaeological evidence for stone worship and associated cult practices from the SE‐Arabian Mleiha/PIR A‐C period (3rd century bce–3rd century ce) is reviewed and compared with ethnographic parallels and information from, among other sources, the Kitāb al‐aṣnām (Book of Idols) by Hishām ibn al‐Kalbī (737–819 ce). [ABSTRACT FROM AUTHOR]

Qaryatum dhāt Kāhilim ('the City of [the god] Kahl') is the Ancient South Arabian name of the modern site of Qaryat al‐Fāw. This compound refers to the tutelary deity of the city, in this case, a god called Kahl. However, the identity of this Kahl is obscure. Who is this god that makes his appearance in history towards the end of the second half of the first millennium bc? Despite his name being recorded in various texts and inscriptions on numerous objects that confirm his role as the city's patron god, scant information exists regarding his attributes or sphere of influence. Nonetheless, clues on some of his characteristics can be gleaned from coins bearing his likeness. This serves as a springboard for exploring potential connections with iconographies seen in petroglyphs, statues and paintings from the region, suggesting that Kahl may fit within the archetype of the smiting or menacing god, a prevalent motif in the broader Eastern Mediterranean region. [ABSTRACT FROM AUTHOR]

This article explores the insights of photo-elicitation interviews as a methodological genre for understanding how people construct narratives of a memorial associated with colonialism. We argue that the interaction with photographs made the research participants feel more comfortable and at ease sharing their perspectives on the Savorgnan de Brazza Memorial, and the most salient benefit of the method derived from how people express their feelings and emotions. As our empirical data show, using photographs allows to capture people's deep resentment against the Memorial and how they protest the contrast between the lavish Memorial on the hand, and the derelict statues honouring local historical figures on the other hand. Unlike words-only interviews, the photo-elicitation interviews offered the opportunity for the participants to visually explore the aesthetic, the magnitude and the footprint of the Memorial and to compare it to similar artefacts in the city of Brazzaville. Such contrast, and the emotions that they triggered, would not have been possible to capture if the participants were not exposed to the photographs. [ABSTRACT FROM AUTHOR]

The Greek marble statue of the Auriga of Mozia Island, in Sicily, is the most important artwork displayed at the Whitaker Foundation Archaeological Museum. It underwent geophysical investigations twice, in 2012 and 2021, to assess the marble's degradation. The 2012 investigation prepared the statue for transfer to the Paul Getty Museum in New York and repositioning on an anti-seismic pedestal. The 2021 investigation evaluated potential new damage before another transfer. Both investigations utilized 3D ultrasonic tomography (UST) to detect degraded marble areas and ground-penetrating radar (GPR) to identify internal discontinuities, such as fractures or lesions, and locate metal pins that were previously inserted to reassemble the statue and its pedestal. Results from the UST indicate an average marble velocity of approximately 4700 m/s, suggesting good mechanical strength, with some areas showing lower velocities (~3000 m/s) within the material's variability range. The GPR profiles demonstrated internal signal homogeneity, excluding internal fracture surfaces or lesions, and confirmed the presence of metallic pins. This study highlights the effectiveness of integrating UST and GPR for non-invasive diagnostics of marble sculptures, providing detailed insights into the marble's condition and identifying hidden defects or damage. [ABSTRACT FROM AUTHOR]

Disjointism is the view that co-located objects do not share any parts. A human-shaped statue is composed from a torso, head and limbs; the co-located lump of clay is only composed from chunks of clay. This essay discusses the tenability of this relatively neglected view, focusing on two objections. The first objection is that disjointism implies co-located copies of microphysical particles. I argue that it doesn't imply this and that there are more plausible disjointist views of tiny parts available. The second objection is that disjointism is at a loss to explain how material objects can be co-located and why the weights of co-located objects don't add up. The standard pluralist account appeals to the fact that co-located objects stand in mereological relations and this account is not available to the disjointist. I sketch an alternative account that appeals to a notion of 'material identity': the statue is taken to be the same matter as the lump of clay. The resort to a new theoretical primitive may seem to invite a quick rejection on grounds of unnecessary theoretical complexity but I argue that an abductive comparison with rival forms of pluralism shows that such a rejection is misguided. [ABSTRACT FROM AUTHOR]

This article explores the significance of images in ancient Egyptian culture, focusing on their role, purpose, and creative aspects. It acknowledges the challenges in understanding these images due to contemporary biases and trends. The article highlights the growing interest in the power of ancient Egyptian visuals in Egyptological scholarship. It emphasizes that ancient Egyptian images were not meant to document reality but to create an idealized and eternal dimension. The primary intended viewers of these images were the deceased, gods, and divine beings, and the images served a ritual and symbolic function rather than an artistic or documentary purpose. [Extracted from the article]

Statues and other monuments that mark the great names of colonization and empire are specifically privatized forms of colonizing memory. To reduce the collective forces of history to a single name is a form of defacement. This essay argues for a mode of history and memory beyond the face and beyond the individual. Debates surrounding the removal or preservation of statues for the sake of history and memory assume a humanized and privatized form of historical time. The destruction of statues is a positive event that opens the possibility of collective time. Rather than preserving history through terms that are readymade, this essay argues for an aesthetics of the ready-made, or the found object that appears alien and out of place. [ABSTRACT FROM AUTHOR]

During a survey in Peceneaga, Tulcea county in Dobruja, several settlements and mounds (necropolises) from the 4th century were discovered. Topographic and geophysical surveys of the “Breazu tumulus” and its surroundings have revealed a partially destroyed tumular necropolis, where the barrow with the statue had a stone ring. The presence of a burial chamber below the embankment could not be proven; another burial structure was probably present. On the largest tumulus lay a Scythian stone statue from the 4th century BC. The bearded left-handed warrior was represented with a belt, a gorythos and protective armor on his right thigh. In this time the North Pontic Scythians under Ataias, migrating westward, became increasingly sedentary. A Scythian center of power may have emerged there. [ABSTRACT FROM AUTHOR]

High-quality observations of the real world are crucial for a variety of applications, including producing 3D printed replicas of small-scale scenes and conducting inspections of large-scale infrastructure. These 3D observations are commonly obtained by combining multiple sensor measurements from different views. Guiding the selection of suitable views is known as the Next Best View (NBV) planning problem. Most NBV approaches reason about measurements using rigid data structures (e.g., surface meshes or voxel grids). This simplifies next best view selection but can be computationally expensive, reduces real-world fidelity and couples the selection of a next best view with the final data processing. This paper presents the Surface Edge Explorer (SEE), a NBV approach that selects new observations directly from previous sensor measurements without requiring rigid data structures. SEE uses measurement density to propose next best views that increase coverage of insufficiently observed surfaces while avoiding potential occlusions. Statistical results from simulated experiments show that SEE can attain similar or better surface coverage with less observation time and travel distance than evaluated volumetric approaches on both small- and large-scale scenes. Real-world experiments demonstrate SEE autonomously observing a deer statue using a 3D sensor affixed to a robotic arm. [ABSTRACT FROM AUTHOR]

In September 1794, the French army, after conquering much of Belgium and the Netherlands, marched into Aachen. This early campaign of military conquest turned into the first laboratory for the systematic plunder of cultural assets enacted by various post-revolutionary and Napoleonic regimes from 1794 to 1815. Works of art "liberated" from the tyranny of aristocratic and religious ownership were earmarked for the newly opened Musée Central des Arts (now the Louvre) to showcase the enlightened cultural supremacy of Paris. From Aachen, the conquerors took more than the usual loot of movable assets: they "extracted" some forty columns from Charlemagne's famed palatine chapel. Thirty-two of these monoliths, set in the eight gallery-level arches, were already Carolingian-era spolia, having been removed from Rome and Ravenna with as much effort and cost as would be the case a thousand years later. Of particular interest to medievalists is the fact that ten of the Aachen columns were integrated into the architectural fabric of the Galerie des Antiques, the Musée Central des Arts' spectacular collection of Greco-Roman statuary that opened to the public in November 1800. Contemporary documents do not associate these columns with a medieval building, but they consistently underscore their provenance from "the tomb of Charlemagne." After reviewing the resonance that association held for Napoleon, the protracted restitution process that followed his downfall is examined against the emergence of a national patrimonial rhetoric, in part galvanized by the failed return of the ten Aachen columns, which remain in the Louvre to this day. As a study of the contested afterlife of seemingly mute and immovable architectural elements, this article also attends to the way these columns legitimized the modern museum as a radically new type of institution. —Carol Heitz in memoriam [ABSTRACT FROM AUTHOR]

The document examines Molière's play "The Feast of the Stone" and highlights the significant moments related to the dinner invitations exchanged between the statue and Dom Juan. It emphasizes the evolution of the play's title and the significance of dinner invitations in the context of comedy. The analysis focuses on the symbolism of feasts, the relationship between consumption and divine punishment, as well as the themes of hunger, need, and mockery. Finally, the document explores the notion of consumption, addiction, and elimination in the play, shedding light on the complexity of the characters and themes addressed. [Extracted from the article]

Recent years have seen various forms of honorific public art – statues, monuments, and the like – brought under renewed moral scrutiny. This scrutiny has resulted in some high-profile removals, some defacement and additional contextualization to augment existing objects, and some cases of the status quo prevailing. Scholarly treatment of the issues has similarly resulted in arguments that articulate competing values that support removal, modification or preservation. I bring the insights of these arguments to bear on specifically military commemorations, where I argue that they have ample application, but where they do not exhaust the moral complexity to be confronted. This is true first because military commemoration introduces a novel moral concern of militarism, and second because military commemoration frequently has a distinctively normative function of expressing gratitude. Both these points are most powerfully observed in collections of commemorations, rather than individual monuments, a distinction that deepens ongoing discussions about problematic commemorations. [ABSTRACT FROM AUTHOR]

In what way might public statues wrong people? In recent years, philosophers have drawn on speech act theory to answer this question by arguing that statues constitute harmful or disrespectful forms of speech. My aim in this paper will be add a different theoretical perspective to this discussion. I will argue that while the speech act approach provides a useful starting point for thinking about what is wrong with public statues, we can get a fuller understanding of these wrongs by drawing on resources from recent work in situated affectivity. I will argue that public statues can be understood as affective artifacts and that this can both help us understand both the deep affective wrongs caused by public statues and offer a possible explanation as to why some people are so strongly opposed to their removal. [ABSTRACT FROM AUTHOR]

Every football statue transcends mere physical representation; it stands as a public monument constructed to commemorate and honor specific subjects. The football statue involves an intricate interplay of communication factors and functions, potentially transforming into a message imbued with encyclopedic signs to serve its communicative purposes. Importantly, the football statue, as a communication phenomenon, extends beyond a simple semiotic relation between the statue and a viewer. We must also consider the addresser's intentions, including strategies for engaging the viewer as an addressee. This duality involves referencing both historical and spatial contexts (the physical environment) beyond the message itself. And various semiotic means – also poetic – capture the viewer's attention and maintain contact. We understand the semiotics of football statues from the perspectives of Eco (encyclopedia, intentio auctoris, model reader), Jakobson (communication model), Peirce (icon, index, symbol, collateral experience), and Barthes (relay, anchorage). Our analytical descriptions/examples solely concern UK statuary after an examination of 89 statues. [ABSTRACT FROM AUTHOR]

This article is based on my talk given at the occasion of the unveiling of the statue of Albert Einstein at the entrance of the Physics Department of the University of Havana, on March 27, 2024. It deals with some facets of Einstein's life and work, including aspects of his human and social character, as well as some lesser-known points. [ABSTRACT FROM AUTHOR]

In the late nineteenth century, female adherents of the Delsartean physical culture movement in the USA would perform statue poses as part of their training and public appearances, employing both male and female statues in their work. This article positions this practice within seventeenth‐ and eighteenth‐century historical trajectories of the visual, rhetorical and performing arts and the allegorical meanings that prior generations had mapped onto the bodies of these works of art. This article argues that the Delsartean ‘law of correspondence’ equating internal states with external expression allowed their statue posing to serve as a tacit statement of gender equality. [ABSTRACT FROM AUTHOR]

This article examines a ritual called the rushen ("Embedding the Spirit") as it takes place in Taiwan. The second in a traditional series of three consecration rituals, the rushen involves the transformation of varied materials and their subsequent assemblage inside of a nascent deity statue. How do statue carvers, ritual specialists, and patrons express what the ritual achieves? This article argues that the rushen aims to purify, potentiate, and protect the interior space of a young statue. To this end, the ritual achieves the conception of a spirit embryo (shentai) inside the statue's body. The concurrent assemblage of consecrated materials thereupon works to nourish and protect this incubating divine presence as it continues to grow in subsequent weeks. From the moment of the rushen, the spirit embryo, like a newly planted seed, gestates under the statue's surface, protecting the image from malevolent spirits and engendering it with divine capabilities. Hidden beneath the surface, the spirit embryo awaits the kaiguang, the final ritual of animation, the moment when the statue will come to life as a spirit image, like a seedling sprouting up through the soil, like an infant emerging from the womb. [ABSTRACT FROM AUTHOR]

Animal figures have been a subject of art for ages. However, dinosaurs, which are extinct animals, were included in art history relatively recently. The first fossils were discovered in the early 1800s in England, sparking increased interest in these creatures. Dinosaurs were introduced to art history through sculpture, with sculptures installed in public parks to depict their appearance. As a result, the image of dinosaurs was created through the art of sculpture and painting. This intersection of science and art has once again emphasized the importance of sculpture. The concept of dinosaurs permeates various aspects of our lives, from playgrounds to the film industry. This study endeavors to elucidate a topic that often eludes attention yet persists within the realm of sculpture art. Through this endeavor, the aim is to augment the scholarly discourse within the field. [ABSTRACT FROM AUTHOR]

This article deals with some aspects of the cultural influences that developed between Arabia and neighboring old-world cradles of civilization, as represented in motherhood figurines found buried with the dead. These reveal the skillfulness of the Arabian artist in shaping the figurines in such a way as to bring out feminine features. The article also demonstrates that the Arabian tribal system passed through two stages: an ancient primitive stage, during which women were socially dominant, as confirmed by the maternal statues; and another stage, prior to the coming of Islam, during which paternal hegemony dominated and maternal statues gradually began to disappear from the scene with the advent of the Nabataeans. [ABSTRACT FROM AUTHOR]

Cultural heritage is a central domain for key populist themes of threats to national identity and protection of ‘the majority’ against cosmopolitan, ‘wokist’ elites. The article explores how differing government discursive strategies towards populism influence heritage policies. It takes the case of contested public statues. In France, the government has adopted a discursive strategy of ‘patriotic Republicanism’ that reduced the discursive space for contestation and policy has remained largely unchanged. But in Britain and Hungary, governments have increasingly adopted populist discourses, leading to countervailing discursive coalitions, contestation and change in agendas and decisions in both populist and non-populist directions. The proposition developed is that national governments pursuing populist discursive strategies triggers anti-populist discursive coalitions, with contestation and changes in agendas, institutions and individual decisions. Conversely, governments developing their own nationalistic discourses reduces the scope for populist ones but also leads to freezing of existing policies. [ABSTRACT FROM AUTHOR]

Between 2009 and 2011, the Kurdish sculptor Hadî Ziaoddînî created a statue of poet Mestûre Erdalan (1805–1847), in the city of Sine (Sanandaj, Iranian Kurdistan or Rojhelat). A woman standing, carrying a book in her hand, the figure of Mestûre is unique in the Islamic Republic of Iran. She is not wearing the obligatory hijab but a Kurdish kofî. This paper presents the evolving representation and reception of Mestûre, the first Kurdish female poet and chronicler. The existing research on heritage in Iran focuses mainly on the policies of Pahlavi and Islamic regimes, tourism and conservation. This paper reveals the dissonant heritage-making that inspires Kurdish ethnic and national identity and the empowerment of women in Iran. The latter gained momentum, especially after the killing of the Kurdish woman, Jîna (Mahsa) Amînî, by the morality police in 2022. The multi-layered heritage performance engages identity politics, artistic creation and the new practice of visiting the statue of Mestûre. Starting from Ziaoddînî’s work as the focal point of discussion, the study identifies various links between the statue and other artistic products, as well as investigates the contemporary relationship between Mestûre and the inhabitants of Sine. The relationship is mediated by the sculpture and the moral imagination it stirs in empowering Kurdish women. [ABSTRACT FROM AUTHOR]

This article is a product of the first complete survey of British public representational monuments in the U.K. related to transatlantic slavery, available online at . Identifying over 900 monuments, it brings this survey to bear on current public and policy debates about such monuments' history, significance and meaning vis-à-vis slavery, art and heritage. Examining the monuments at scale, we identify the monuments' patterns of production and provide data-led answers to specific questions such as what Britain's most significant monumental legacies of slavery are; how enslaved people appear in British public monuments; and how this data might support rethinking these monuments. [ABSTRACT FROM AUTHOR]

The article describes the publication of a new stela of the Chief Treasurer Maya from the time of Tutankhamun-Horemheb, with a long hymn to the rising sun. The stela, which was in the possession of Linant de Bellefonds, is only known through a handwritten copy by Auguste Mariette. There is no doubt that it comes from Maya's tomb in Saqqara. The stela shows Maya standing before the deities Atum and Re-Horakhty. The lower part of the stela consists of 20 lines of hieroglyphic text, with the last 3 lines almost completely destroyed. The text consists of two parts: lines 1-8, a hymn to the rising sun, and lines 8 and following, a concluding prayer with a list of blessings that the speaker, Maya, hopes to receive from the sun god. The hymn is an original composition or variation, while the prayer is based on the composer's personal oral improvisation. There are parallels to other inscriptions from the time of Amenhotep III to the end of the dynasty, but the arrangement is unique. The exact meaning of some passages remains uncertain. The Linant stela dates from the New Kingdom and is the only known source from this period. It is the counterpart to a limestone stela that was originally placed on the south side of the west wall of the portico in the outer courtyard of Maya's tomb in Saqqara. The stela was discovered together with three statues and a block in the Leiden National Museum of Antiquities. It is believed that the stela was found before the Lepsius expedition, which explored the tomb in the 1840s. The stela contains hymns to the sun god Re-Horakhty and the night sun god Osiris. The given list includes a number of books and articles on various topics related to ancient Egypt. The mentioned works deal with topics such as Egyptian religion, hieroglyphs, tombs, and texts from the New Kingdom. Various authors and their works are also listed. The list does not provide cohesive information or a main focus, but serves as a reference for further research in the field of Egyptology. The text describes various scientific publications and research in the field of Egyptian archaeology. Various topics are covered, including excavations in Saqqara, the representation of the afterlife in ancient Egypt, and the significance of inscriptions and reliefs. Specific artifacts and tombs are also mentioned, such as the stela of Maya and the tomb of Kheruef. The publications come from different years and were written by different authors. [Extracted from the article]

We study art markets in the Greco-Roman world to explore the origins of artistic innovations in classical Greece and the mass production of imitative works in the Roman Empire. Economic factors may have played a role, on one side fostering product innovations when a few rival Greek city-states competed, outbidding each other to obtain higher-quality artworks, and on the other side fostering process innovations when a large integrated market promoted art trade across the Mediterranean Sea. The evidence on art prices is consistent with this. Literary evidence on classical Greek painting from V–III centuries BC (largely from Pliny the Elder) shows that the real price of masterpieces increased up to the peak of creativity reached with Apelles. Epigraphic evidence on Roman sculpture from I–III centuries AD (largely from inscriptions at the base of statues) shows that the real price of statues was stable and largely equalized across the imperial provinces. [ABSTRACT FROM AUTHOR]

The article examines the process that led to the erection in 1871 of the monument to Friedrich Schiller in the Gendarmenmarkt in Berlin. In the twelve years that passed between the conception of the monument and the unveiling, the project was dogged by disputes about its legitimacy and the form it should take. The undercurrent of these disputes was political, reflecting tensions between liberal and conservative opinion in the period. After tracing the history of the project, the article concludes with broader reflections on the place of public monuments in the commemorative culture of our own time. [ABSTRACT FROM AUTHOR]

Research on introductory psychology textbooks used in higher education abounds around the world. Although most studies focus on textbooks designed for students majoring in psychology, this paper looks into textbooks used for a compulsory undergraduate course on mental health and well-being in mainland China. Like in many other countries, Chinese students face mental and well-being issues and this course aims to support all undergraduate students in dealing with their own psychology rather than specialising in the subject. Based on an in-depth discourse analysis of two widely used textbooks published in Chinese for this course, the authors examine how the textbooks construct the university experiences of Chinese students. At the same time, the paper also delves into the ways different kinds of Chinese students are portrayed and the types of changes that they are said to experience at university. The foci of invisibility and selectivity from the field of textbook analysis help highlight generalising, stereotyping, and recourse to biases in the textbooks. Recommendations as to how such textbooks could be used to boost university students' mental health and well-being, while taking into account their diversity, are proposed at the end of the paper. [ABSTRACT FROM AUTHOR]

Dutch colonizer Jan Pieterszoon Coen is remembered as a hero for establishing the spice monopoly and as a perpetrator who mass-killed the Bandanese population in 1621 in pursuit of that monopoly. After his statue in Hoorn fell off its pedestal in 2011, the municipality decided to restore it in disregard of protesters requesting the statue's relocation to Westfries Museum. As a compromise, the municipality granted the protest a voice by providing the statue with an updated inscription that acknowledges Coen's controversial legacy and an accompanying exhibition in Westfries Museum. In this essay, I will analyze these events as a conflict about the articulation of postcolonial memory: how should the colonial past be remembered? Through Olson's theory of legality and affect and Marcuse's theory of repressive tolerance, I will interpret this conflict as the negotiation of different legalities. [ABSTRACT FROM AUTHOR]

This article looks at the juxtaposition of empires, exploring how linkages between and across varied imperial phenomena might work. Through the career of Harry Smith Parkes (1828–85), British minister to China, Japan and Korea, as well as almost forgotten stories of the British occupation of Geomundo or the Port Hamilton Affair (1885–87) in Korea, it aims to understand the interconnectedness of geopolitical regions and the work of global processes in trans-imperial contexts. Parkes is a controversial figure who played a key role in the relations between East Asia and the West from the 1850s until the 1880s. After he died in Beijing in 1885, his bust was unveiled in the crypt of St Paul's Cathedral. Meanwhile, in Shanghai, a bronze statue of Parkes was placed on its pedestal in 1890. While the monument to the British imperial past in China was removed by the Japanese during the Second World War, the white marble bust remains in metropolitan London, representing the imperial hero. British soldiers who died during the occupation and their gravesites in Korea, by contrast, have been largely forgotten in British imperial history. In the nineteenth century, Geomundo (Port Hamilton) was the international stage where five high-powered nations competed for political hegemony in East Asia. Now a British soldier cemetery in Geomundo History Park makes us consider the possibility of writing further trans- and inter-imperial histories beyond the silence. [ABSTRACT FROM AUTHOR]

The article investigates the collusion between colonialism and liberalism in Victorian Britain through the imperial statuary in St Paul's Cathedral. In particular, it examines the commemorative statues of colonial heroes from British India, with particular reference to the statues of James Napier, Henry Montgomery Lawrence and Samuel Browne: it places these figures in their historical context, explores their often conflicted relation to the East India Company and imperial rule in South Asia, and teases out the multiple intensities of meaning – personal, professional, ambivalent, messy – pulsing under these statues. A close examination of the statuary reveals the impulses and anxieties around the imperial male body that went into their making and how the marble both concealed and congealed these stories to produce sanitized versions of violence and empire. [ABSTRACT FROM AUTHOR]

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Socrates' official answer to Meno's question about the value of knowledge, near the end of Plato's Meno, is that knowledge is stable. I argue that both the answer and the question have been widely misunderstood. The question has been taken to be why knowing at a time is better than true belief at that time, and Socrates' answer has been taken to point to the greater persistence of knowledge over time. I argue instead that, given the broader context of the question and answer in the Meno, together with what Plato has to say about stability elsewhere, Meno's question is better understood as a more difficult question – and Socrates' answer as a good solution to it. This also involves arguing that Socrates' analogy to the statues of Daedalus is not intended as the simple illustration of Socrates' official answer for which commentators have taken it. [ABSTRACT FROM AUTHOR]

There is a good chance that “each critic becomes a Pygmalion” (as Leo Curran put it) when they bring the work of art to life in their narcissistic (and almost amorous) attention, unfolding its meaning so that they should be able to write their own interpretation. The starting point of the present text is the perfection of sculptural forms, and the author discusses “traditional” aesthetic concepts: the beautiful and the sublime along with the difference and interplay of the two qualities, bearing in mind their variations and relations. The framework is provided by the occurrence of these two in the discourses on the self and taste in the eighteenth-century while the focus is on subjective criticism concerning the beautiful versus the sublime in the artistic and sensual experience of statues. Within the given framework, the author is planning to force Edmund Burke, stiffened by the experience of the sublime, and Winckelmann, softened by the sight of the Greek statues, into a dialogue on individual taste.

This study draws on qualitative research to explore students', academic, and support staff perspectives on the processes of the removal of the MT Steyn statue from the Bloemfontein Campus. The findings demonstrate that the majority of participants thought the Steyn statue brought back memories of the past. They associated it with apartheid. The results of this study indicate that the majority of participants believed the MT Steyn statue reopens old wounds, especially in black people's memories. They believed that keeping the monument in place would compel them to recall the horrific memories of the apartheid era. Some participants, though, did not feel impacted or see the statue as a reminder of the past. The study's findings lend more credence to the idea of moving the monument off the Bloemfontein Campus. [ABSTRACT FROM AUTHOR]

This study aims to examine the ratio decidendi which is the basis for the judge in issuing a decision in case No.160/G/2018/PTUN.SBY. In the litigation process, the ratio decidendi is an important aspect to determine whether the arguments of the lawsuit are rejected, granted, or partially granted. This research is included in the type of juridicalnormative research conducted with a statutory approach (statue approach) and a case study approach (case study). This research uses secondary legal sources from various laws and regulations relating to state administrative courts, as well as legal materials from books, journals, and other literature studies relevant to legal issues. The results showed that the Panel of Judges of PTUN Surabaya considered the settlement of the case by using 3 testing parameters, namely in terms of authority to issue, in terms of formal procedures for issuance and in terms of the material substance of the object of dispute. the results showed that the ratio decidendi of the judge in Decision No.160/G/2018/PTUN.SBY, including, among others, the authority of the defendant as a state official, the formal procedure of the mechanism for issuing the letter that became the object of dispute, and the formal substance of the lawsuit. [ABSTRACT FROM AUTHOR]