Search

All parts of Heraclitus’ cosmos are simultaneously living and dying. Its constituent stuffs (“biomasses”) cycle endlessly through physical changes in sweeping patterns (“biorhythms”) that are reflected in the dynamic rhythms of Heraclitus’ own thought and language. These natural processes are best examined at a more-than-human level that exceeds individuation, stable identity, rational comprehension, and linguistic capture. B62 (“mortals immortals”), one of Heraclitus’ most perplexing fragments, models these processes in a spectacular fashion: it describes the imbrication not only of humans and gods but of cosmic masses more generally, and its language mimics the natural relations that it names, or rather intimates through its grammatical and syntactical indeterminacy. The remaining fragments amplify the uncertainties and the exhilarations of Heraclitus’ worldview along the same lines. His approach to nature raises urgent questions about how human beings fit into the cosmos, not least by challenging our intuitive conceptions of life and death, our material makeup, and our entanglements with our natural surroundings. In doing so, he provides vital lessons for contemporary ecological awareness, and proves to be an unexpected ally.

In this contribution the author reports on her study of student teachers’ own reading interests when reading for pleasure, which found university students preferred fiction for adult readers rather than fiction marketed for adolescent readers, and many also favoured literary classics.

Abstract Ancient Chinese classics embody and transmit the intellectual heritage of China across generations. These texts, rich in enduring ideas, narratives, and insights, have been passed down through a lengthy historical process. While digital modeling of cultural heritage has advanced, research that integrates both the unique characteristics of these classics and their transmission processes remains limited. This study introduces ClaOnto, an ontology specifically designed for ancient Chinese classics. It captures the various versions of these texts and their interrelations, contents, related individuals, locations, periods, and languages. It also emphasizes the processes and evaluations involved in their transmission. This contributes to a more nuanced understanding and increased awareness of preserving ancient classics. ClaOnto comprises three modules: Basic Information, Transmission Information, and Evaluation Information. Its development involved adapting and enhancing existing mature ontologies, as well as designing new concepts and relationships to articulate the knowledge and intangible values transmitted through these classics across generations. Additionally, by employing methods such as data mining, text analysis, and data visualization, this study outlines a workflow for implementing this ontology-based knowledge graph, demonstrated using the Tao Te Ching as a case study. The methodological enhancement enriches the analysis of how the intangible value in classics manifests through transmission.

This study looks at the effective use of Assassin's Creed: Odyssey to teach Greek Religion at A Level. A focus of this study is to identify good teaching practice in using this tool to improve source recall as well as pupils’ ability to use these sources to support evaluation. A recent blog post on Quinquennium highlighted the potential for this game to be used as a teaching tool (Hinde, 2019), while its educational potential has also been promoted by the developers releasing a Discovery Tour version as a ‘game mode for educational purposes’ which acts as a ‘living museum’ (Ubisoft, 2021). While the development of educational tools for this franchise is fairly recent, the use of video games in education is established, with games like Oregon Trail being used as early as the 1980s (Buday et al., 2012, 259). Moreover, the fundamental ideas behind the use of video games, such as the player engaging in some form of virtual dialogue with the creator, is one which can be traced back to Vygotsky's ideas of learning as a socio-cultural phenomenon (1978). For example, by reacting to stimuli in the game, the player is engaging in a dialogue with the historian or game developer who created the initial stimulus, after which the game responds in turn, thereby engaging with the player's actions. Furthermore, the idea of reward or punishment for certain actions within an educational game is also drawing on behaviourist theories of education, whereby a pupil is conditioned via in-game tokens for recall of knowledge. Indeed, this is one of the ways in which game developers encourage game addiction (Vu, 2017, 1).

The Classical Association, working with the charity Classics for All, is conscious of the vulnerability of Classics in the secondary education system and wants to understand the reasons behind this. Concern about the decline of classical subjects at GCSE and A Level has been mounting, indicated largely by exam entry data suggesting that entries for classical subjects are low and in the case of the ancient languages in decline.1 The Council of University Classics Departments Bulletin annually publishes statistics for student entries for national examinations at GCSE and A level in classical subjects. But this does not capture the full picture, nor does it represent the other constituent parts of the UK, which have their own examination systems. Therefore, in late 2021 the Classical Association and Classics for All designed a new Classical Studies Survey (the ‘Survey’), to fill in more detailed information about what is going on in schools' classics departments more widely through the UK, across Key Stages 3–5, and to provide practising teachers with an opportunity to make recommendations for future developments in courses for classical subjects. The Survey asked teachers to comment on the current situation for Latin, Ancient Greek, Classical Civilisation and Ancient History, the factors affecting these trends, and what support they considered they would need for Classics to survive in their institutions. This Survey collated data rigorously and enables the Classical Association on behalf of the classics teaching community to make compelling arguments in relation to education policies and examination reform.

This report describes a new project, ‘Better Arguments’, which seeks to teach learners in Scottish secondary schools about what constitutes a good argument, how to identify a bad argument and how to build their own ‘better’ arguments. The unit of lessons uses extracts from Cicero's Pro Caelio as a means of modelling both good and bad arguments, with the aim of equipping learners with a framework by which they can analyse and evaluate not only Cicero's arguments but arguments generally. By way of background, the report explains the current provision of Classics teaching within Scotland and the challenges facing those who are working to reinstate Latin and Classical Studies, particularly at National Qualification level. In this context, the ‘Better Arguments’ project is one strategy to increase the Classics provision in state schools. The report explains the rationale behind the design and content of the unit and then goes on to highlight the benefits of teaching this unit, especially the educational, cultural and social gains to be made. It identifies some of the potential challenges to the implementation of these lessons and offers some solutions to them. Finally, it considers the ways in which this project might be viewed as a starting point, with suggestions as to how the skills developed here might be further built upon through the use of other classical texts in future units of work.

The article is dedicated to the study of the art criticism views of the author of the first Russian textbook for students of the Imperial Academy of Arts, diplomat and Vice‐President of the Imperial Academy of Arts, Pyotr Petrovich Chekalevsky. In his essay A Discourse on Free Arts with a Description of Some Works by Russian Artists (1792), Chekalevsky mainly relies on J.J. Winckelmann, whose republican ideas do not repel him as a Russian aristocrat of the period of Catherine II and Paul I, but even arouse his warm sympathy. Chekalevsky sees the main reasons for the extinction of the arts of different countries and peoples in the despotism of state (for example, Rome of the Caesars’ era) and in the tyrannical power of money, depriving the artist of freedom, without which, according to Chekalevsky, full‐fledged artistic creativity is impossible. The death of art, according to him, can be avoided only if new Athens appears. Chekalevsky pays particular attention to the issues of artistic form, proving that a sculptor can express the idea of his work if he finds an artistic language corresponding to this idea. Meanwhile, the language of the sculptor is different from that of the painter, and confusion of different artistic languages (forms) leads, in a certain way, to empty talk, the loss of both content and form. According to Chekalevsky, it is architecture that requires the greatest creative ingenuity. Not only does he reconsider the ideas of classical art history independently and remaster them thoughtfully, but he also expresses them in the original Russian language. Chekalevsky’s utopia of the possibility of a new arts revival based on a certain republicanism in the conditions of the Russian enlightened absolutism predetermined the most progressive trends in the activities of the Imperial Academy of Arts, and his Discourse on Free Arts... can be called the first “living word” of Russian art studies. The textbook by Chekalevsky contains brief information about outstanding Russian sculptors, painters and architects of the second half of the 18th century.

Introducing the symposium “The Interpretation of Cultures at Fifty,” editors Andrea Cossu and Matteo Bortolini reflect on the dynamics of the iconicization of texts and the paradoxical quality of so-called “classics”: their being present while being rewritten and forgotten. A brief illustration of the papers by the contributors to the symposium — Joan W. Scott, Anne Taylor and Jeffrey C. Alexander, Ann Swidler and Ronald Jepperson, Simon Susen, and Monika Krause — completes the introduction.

The article considers different imitative approaches to Charles Dickens’ novella “The Cricket on the Hearth” (1845). Our focus is on two groups of adaptations of Dickens’ work: (1) the “plot (non-stylistic) adaptations” and (2) imitations with elements of stylization. Adaptations appear as re-readings of the novella, which undergo literary simplification (cf. digest). Among such, we consider creative rehashings (including those for children) and scripts, which might be fleshed out with the help of theatrical and cinematic art. A separate group consists of stylistic imitations with occasional allusions to Dickensian narrative; however, they do not closely follow original storylines. The article pays attention to opinions expressed by Stanislavsky and Eisenstein regarding Cricket’s adjustment to the medium of theater and film. It also discusses some specifics of the Dickensian metaphor reflected in stylistic imitations and disregarded by non-stylistic adaptations.

This article presents a state-of-the-field assessment of the use of digital resources and tools in ancient Mediterranean studies teaching. 1 This includes a presentation of the results of a recent survey focusing on pedagogical practices and multimedia use among ancient Mediterranean studies professionals and an overview of the benefits and challenges of incorporating rich-format media and digital resources into learner-centered curricula. The article also provides a summary of methodological approaches that can enhance learning retention and promote authentic and deep learning, with the goal of empowering students to think critically about the ancient past and their modern world. [ABSTRACT FROM AUTHOR]

Copyright of Álabe is the property of Alabe and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Information, knowledge and wisdom are not the same. Nor is instruction and culture the same. We long for a knowledge that unitarily integrates truth, good and beauty. That is what is learned in the school of the classics, the total school. These works pose the crucial questions with paradigmatic optics and unequaled depth. But there are obstacles in the current culture for reading the classics. The "magic of reading" confronts other, more powerful magics. The main reason to read is to appeal to qualitatively superior entertainment. After a phenomenology of reading addresses the profound impact of the work on the reader. [ABSTRACT FROM AUTHOR]

Is everything good in political economy incorporated into modern graduate education in economics? With the transition of the art of political economy into the science of economics, there was a significant narrowing of graduate education curriculum. The prevailing technique in economics, a neoclassical framework focusing on formal empirics, gradually compressed artistic components of economics, including philosophical underpinnings, democratic justifiability, theoretical intuition, comparative institutional analysis, and political economy. Courses on the history of economic thought, which historically played a role in introducing graduate students to the complexities of the art of political economy, are now only offered as an elective. This paper argues, however, that there are still insights to be gleaned from studying the classics of political economy in graduate education. We highlight the tradeoff between theoretical cumulativeness and knowledge, arguing that significant insights from historical works of political economy are often absent in contemporary technical expositions of economics. We explore examples of useful knowledge in political economy that was lost in the transition away from the art of political economy. To remain an operationally valid social science, economists should reintroduce the artistic elements of political economy into the graduate training of economists. [ABSTRACT FROM AUTHOR]

During the postwar period, the concept of instinct came to encapsulate the debate around the importance of nature versus nurture. The fact that animals show highly organized behavior early in development suggested the presence of an underlying fixity where behavior was "inbuilt" into an animal's biology despite an individual's experiences. This placed a discrete and exhaustive line between the innate and acquired that became a foundation for the European-dominated field of ethology. Across the Atlantic, a group of comparative psychologists led by the American Museum of Natural History's T. C. Schneirla contested this approach, proposing that the study of animal behavior should avoid abstract dichotomies with a renewed focus on developmental processes. While Schneirla's theoretical and empirical work shaped the modern study of animal behavior, his legacy requires revisiting in an era where the nature versus nurture debate is regaining prominence. In this article, I revisit Schneirla's approach to behavior with a focus on his paper "Interrelationships of the 'Innate' and the 'Acquired' in Instinctive Behavior" (published in M. Autuori et al. (1956) L'instinct dans le comportement des animaux et de l'homme; Masson, Paris, pp. 387–452) for the journal's "Classics in Biological Theory" collection; the paper is available as supplementary material in the online version of this article. A companion article (this issue; G. M. Kohn (2024) "A Discussion on Instinct, Paris, 1954") presents the commentary that was published with it. [ABSTRACT FROM AUTHOR]

Between 1980 and 2020 Russia’s writers experienced profound changes in their personal and professional lives, as history presented yet another tabula rasa, but when sitting down to write (and despite the advice of Alexander Genis), writers did not see a blank page, but one covered with existing titles, characters, plots, settings, fixed expressions (krylatye vyrazheniia) and the reflections and shadows, literal and figurative, of earlier works. Unlike what Vladimir Kantor describes as Soviet-era erzatsliteratura (15) the classics offered high drama and low farce, the deepest as well as the most charmingly superficial protagonists, unforgettable flights of language, and urgent topics of the day presented against a backdrop of eternal spiritual and moral questions. For those writers wishing to circumvent the klassiki, while still linking themselves to Russia’s past, there were pre-modern religious and folk narratives, lengthening the canon’s timeline while appearing to free it from western influences or imperial ambitions. After tracing how the reputation of Russia’s klassiki and their desirability as a model changed over time, this paper will offer a descriptive survey of how specific characteristics of predecessors’ works reappeared during this four-decade stretch, with a special focus on the profound reaction to Nabokov. Our aim is to go beyond the concept of tvorcheskaia preemstvennost’ (creative continuity), which allows for broad observations, for example, about the “Gogolian” or “Chekhovian” atmosphere of a given work. Seeing how much material was creatively redeployed, we will consider what contemporary readers need to know about ur-texts (or pre-texts) – beyond what can be found on a quick internet search – in order to appreciate works bearing the influence of past writers. Finally, we ask whether the term “Great Russian Literature” still refers to an inherited literary culture appreciated far beyond Russia’s borders, or whether now, in the 2020s, it is more closely associated with the aggressive nationalism emanating from Moscow.

The aim of this contribution is to present an innovative approach to the use of Open Access AI in teaching the Classical era at high school and university level. The paper first explains the growing interest in AI technology and its main applications in the subjects of philology, history and other related areas. The following sections show the different steps of the proposal, which uses the Midjourney program, as well as its pros and cons.

The purpose of this article is to offer an overview of an educational project that brought Classical Civilisation to pupils in the Pisa area between 2004 and 2009, through a cooperation between the Department of Classical Philology at our University and the Provincial Administration of Pisa.1 The project was aimed at pupils of primary and lower secondary schools, in response to a thorough reform of the Italian school system that excluded some pupils from studying Greek and Roman civilisations in as much depth as other parts of history. This article will first provide an overview of the Italian education system and its recent reforms, after which the project Educare all'Antico will be discussed.

This article describes some of the main features of classical languages and history learning at the primary school level in England at the current time. It briefly examines the context and education policy background and government and teachers' beliefs in the value and status of classical subjects, especially the Latin language as an aid to learning other languages and as a support for developing and improving students' English literacy. There is some overlap with the literature review co-authored by Holmes-Henderson and Kelly for the British government (Holmes-Henderson and Kelly, 2022) and a recent piece by myself about provision of teaching and resources in the Bulletin of the Council of University Classics Departments (Hunt, 2022a). I hope to develop further some of these ideas and draw out some discussions about resources, pedagogy and learning aims for possible future directions of classical languages learning at the primary level.

This paper explores the ways that intricate wordplay informs the satires of two writers: Hama Tuma from Ethiopia and Lucian from Syria. In Tuma's "The Case of the Traitorous Alphabet" and Lucian's Trial of the Consonants , characters enact instances of doublespeak (expressing a literal and hidden statement simultaneously) that reverberate within and outside of the satirical realm. Writ large, the horizontal reading practice in this article promotes an anti-hierarchical approach to Classics that includes African Studies. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article considers the way of shaping literary perceptions of priest Konstantin Aggeev, a prominent figure of the church revival movement of the early twentieth century, apologist and participant of church-cultural dialogue. Coming from an illiterate peasant environment, he undergoes a challenging path of shaping his literary taste and becomes an independent thinking reader for whom Russian classics are one of the ways of forming his personal identity. Based on his reading experience, Fr. Konstantin suggests using images from Russian literature in teaching the Law of God in gymnasiums and theological schools. The ideas of the young teacher of law struggle to make their way, but in the process of substantiating these ideas, K. M. Aggeev formulates various arguments in support of appealing to the literary heritage — those of aesthetic, apologetic and moral nature. The article restores Aggeev’s reading experience, describes his attitude to such Russian writers as F. M. Do­sto­evsky, I. S. Tur­ge­nev, L. N. Tolstoy, etc. The field of research also includes literary critics and journals that may have influenced Aggeyev’s ideas about the nature of literary creativity. The article is a reconstruction of the unfulfilled idea of the article by K. M. Aggeev “Literature as a guide for teaching the Law of God in gymnasiums” (1897).

Modernist poet H.D. saw ancient Greek words as portals and gates to new ways of writing. Her Imagist poems often push against the medium of the printed page, taking on qualities of Classical artifacts and modernist paintings. What happens when H.D.’s Hellenism generates literal portals for architectural design? And how might these crossings of materials and academic disciplines foretell future modernisms? This essay reconsiders H.D.’s Imagist practice to propose that her iconic poems are not painterly at heart, but architectural. Collaborating as a literary critic and an architect, we bring these early poems into conversation with recent work from an undergraduate design studio in the University of Florida’s School of Architecture. Our analysis also offers an ex-centric narrative of modernist making—one that considers the outlier spaces housing H.D.’s vanguard poems, the ways “Oread” occupies the space of the page and its spatial transformations, and the poem’s provocations for emergent spaces in students’ design projects. Crossing materials and disciplinary thresholds, the future of modernist poetry will create and occupy new spaces in the university curriculum.

Este texto propone una lectura de la peste narrada en el Decamerón que examina la presencia de posibles estratificaciones o resonancias de fuentes antiguas y medievales que pueden entenderse en el relato que Giovanni Boccaccio ofrece al inicio de su obra, cuando narra el origen y consecuencias de la peste que se desató en 1348, terrible suceso que constituye el trasfondo y marco de la historia. En las próximas páginas examinaremos tanto la deuda que Boccaccio tiene con la Historia Longobardorum de Paolo Diacono, considerada la principal fuente de la que se basó el autor florentino para dar voz y cuerpo a la peste florentina del siglo xiv, como algunos detalles que están presentes en la historia y que parecen recordar otras narrativas. [ABSTRACT FROM AUTHOR]

With the task of remembering, the archive stores knowledge and thus enables the canon to forget this knowledge. What has been forgotten there can only be (re)remembered if someone decides to visit the archive. The canon, on the other hand, presents selected knowledge for everyone as something that must be remembered. The example of gender bias in the educational science debate on classics makes it clear that the circulation of knowledge is strongly determined. The active examination of forgotten knowledge/persons in the archive offers the opportunity to participate in the negotiation of knowledge in a reflexive and power-critical way. [ABSTRACT FROM AUTHOR]

The controversy surrounding the statue of John Witherspoon on Princeton's campus has revolved largely around his contentious stance on the gradual abolition of slavery and his presumed ownership of at least two slaves for some indeterminate period. This article is intended to shift the focus to Witherspoon's pedagogical legacy as the more appropriate measure of his place on campus. [ABSTRACT FROM AUTHOR]

Copyright of Lumina (0123-4072) is the property of Universidad de Manizales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Espacio, Tiempo y Forma: Serie II, Historia Antigua is the property of Editorial UNED and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The national appropriations of Marx's work have received two kinds of approaches. On the one hand, Marxists have dealt with the topic based on their internal disputes, elaborating "genealogies of ideas" in the service of demanding "ideological coherence" from each other or highlighting faithful interpretations and supposed betrayals. On the other hand, the field of historical sociology has neglected to address the transnational circulation of the work of Marx and Marxist authors. This area has accepted the current theoretical hierarchy, in which Marxism has no credibility – therefore, studies about its presence in the scientific field are unnecessary. Contrary to these two trends, the following article does not judge the value of Marx's work. It focuses on the disputes surrounding its legitimate readings and uses, by addressing the main initiative that lifted this author out of a marginal position and turned him into an unavoidable figure in Brazil: the first university reading circle of Capital in the country started in 1958 at the University of São Paulo (USP). This is followed by an in-depth analysis of the determining factors behind Fernando Henrique Cardoso's membership in that initiative and his stance on capitalism, slavery, and Marxism. Then, it defines the "reading capital" (in a Bourdieusian sense) of Capital and addresses its fate in current times. [ABSTRACT FROM AUTHOR]

Professional sociology in Ecuador started with the first chair in sociology in 1915. This led to a series of foundational texts during the 1920s and 30s that sought to define what sociology is while applying it to core aspects of Ecuadorian society. While this time was – in the Global North- marked by a growing centralization on the theories of Durkheim and Weber, the Ecuadorian sociologists preferred other thinkers in order to understand society. The result was a mixture of different theories that were not always clearly articulated but did sustain the first relatively coherent sociological readings of Ecuadorian society. This text will shed light on how the first professional sociology in Ecuador used the classics of sociology in a particular way to build local sociology. The focus will be on the four most relevant sociological thinkers of the first half of the twentieth century, Agustín Cueva Sáenz, Ángel Modesto Paredes, Víctor Gabriel Garcés, and Luis Bossano. They worked with Tarde, Worms, Durkheim, and some German, US-American, and Latin American authors. The creation of the first School for Sociology in the 1960s meant a break from this tradition that has not been reflected adequately until today. [ABSTRACT FROM AUTHOR]

In the Odyssey, Homer's Penelope and Circe have fundamentally important roles in ensuring the progression and success of the hero's, Odysseus, journey home. Their actions in the Odyssey invite complex readings of the two women. Despite this, onscreen Penelope is often depicted as the "good, faithful" wife, and Circe as the "temptress". Whilst these interpretations are not wrong, they are limited, cultivating a diminutive cultural understanding about Homer's women. In this article I will use The Simpsons episode 'Tales from the Public Domain' as the foundation of my analysis, whereby I argue that screen adaptations perpetuate these gendered tropes further by relying on what is "known" about these women, instead of investigating their roles in ways that are significantly more complex. To achieve this, I will analyse how gender roles are presented in The Simpsons' adaptation of the Odyssey, with a special focus on Penelope's and Circe's interaction with, and relationship to, the story's hero, Odysseus. I will compare these representations to examples from other screen adaptations from the twentieth and twenty-first centuries, including Mario Camerini's Ulysses, Andrei Konchalovsky's The Odyssey, and Joel and Ethan Coen's O Brother, Where Art Thou?. [ABSTRACT FROM AUTHOR]

Directions (styles) in culture have different reserves of strength and different inertia. Among them there is a unique one capable of revival. It is classicism, which is characterized by a timeless understanding of the laws of harmony and beauty based on the forms and images of ancient art of Greece and Rome. Classicist thinking and classicism did not leave European culture in the 20th and 21st centuries, but its forms changed. The grafting of art nouveau, avant-garde and postmodernism into classical art and architecture did not pass without a trace. Antagonists shook the established norms and left, while classical art and architecture expanded the range of creative possibilities and revived, preserving the basic principles.

ABSTRACTThe national appropriations of Marx’s work have received two kinds of approaches. On the one hand, Marxists have dealt with the topic based on their internal disputes, elaborating “genealogies of ideas” in the service of demanding “ideological coherence” from each other or highlighting faithful interpretations and supposed betrayals. On the other hand, the field of historical sociology has neglected to address the transnational circulation of the work of Marx and Marxist authors. This area has accepted the current theoretical hierarchy, in which Marxism has no credibility – therefore, studies about its presence in the scientific field are unnecessary. Contrary to these two trends, the following article does not judge the value of Marx’s work. It focuses on the disputes surrounding its legitimate readings and uses, by addressing the main initiative that lifted this author out of a marginal position and turned him into an unavoidable figure in Brazil: the first university reading circle of Capital in the country started in 1958 at the University of São Paulo (USP). This is followed by an in-depth analysis of the determining factors behind Fernando Henrique Cardoso’s membership in that initiative and his stance on capitalism, slavery, and Marxism. Then, it defines the “reading capital” (in a Bourdieusian sense) of Capital and addresses its fate in current times.