The greatest deception: fiction,falsity and manifestation in Spinoza’s Metaphysical Thoughts

ABSTRACT

“The first meaning of true and false”, writes Spinoza in a neglected passage of the Metaphysical Thoughts, “seems to have had its origin in stories”. Ideas are true when they “show” us things as they are; they are false when they do not, when they are fictional. In this essay, I argue that what appears at first sight to be a simple assertion of a correspondence theory of truth in fact opens onto broad historical transformations in the nature of meaning that reshaped the very atmosphere of truth: the emergence of a new kind of fictionality, transformations in the sense of logical interpretation, and ultimately transformations in the structures and sources of the natural light, that “clarity” which constitutes for Spinoza, as for Descartes, an indispensable criterion for certainty.     

Comedy in Paestan vase painting

Summary.   The 'phlyax' vases of magna graecia are now known to represent actors and staging of Middle Comedy. More than half of the comic vases dating from the third quarter of the fourth century BC were painted in Paestum by Asteas and his circle, who were influenced by the Sicilian Painter of Louvre K 240. This paper asks whether these painters worked from direct observation of the theatre; and if so, whether the vases are evidence for details of performance methods in Paestum or in Sicily, and at what period. The stage and skene , masks, costumes and comic acting style are considered, together with the link between Asteas and the Painter of Louvre K 240 and the significance of the disagreement of their evidence with that of the Manfria Group of Sicilian painters.     

Monuments, Memory and Marginalisation in Adelaide's Prince Henry Gardens

Social and cultural dominance is (re)produced in the landscape by the exclusion or marginalisation of subordinate and minority groups. This paper illustrates the long-standing and ongoing exclusion of representations of indigeneity in and around Prince Henry Gardens, part of one of the most significant cultural and memorial sites in South Australia. Prince Henry Gardens is home to a large number of monuments and memorials that commemorate almost solely non-indigenous people and events. This is a selective and deliberate landscape of the dominant culture. It confirms a legacy of indigenous dispossession and is symbolic of ongoing marginalisation. While there have been recent compensatory initiatives by state and city agencies to create landscapes of reconciliation through symbolic gestures such as renaming parkland areas, these are argued to be contentious. They associate indigeneity with the city's margins, with violent places and public drunkenness, and perpetuate problematic associations between ‘real’ indigeneity and nature. The paper concludes with some ideas for new memorial landscapes intended to help construct a postcolonial Australian city.