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Certain regions of Canada suffer chronically from social and economic underdevelopment. Economists, geographers, and sociologists have written voluminously about the problem; politicians and policy-makers have mounted grand schemes in a vain effort to rectify imbalances; and planners have created and implemented programs in order to satisfy political exigencies, vested power elites, or the discontent of the Canadian citizens who inhabit these regions. Matthews, in a lucid, systematic analysis of regionalism and regional underdevelopment in Canada (particularly Atlantic Canada), takes us through the academic cant, political puffery, and bureaucratic bumbling to show how regional disparity and regional underdevelopment are the result of exploitation by powerful central Canadian interests - often acting in concert with and aided by the federal government, and too often armed with theoretical models and justifications designed by 'establishment' economists to legitimate their self-interests.He provides a devastating critique of the neo-classical economic and other models that have been created to analyse regional disparities, and in their place champions an approach that rejects economic determinism and structural determinism. He maintains that individuals bring about change and development and individuals, he asserts, are capable of acting in the general interest and not simply out of class interest.The Creation of Regional Dependency makes a landmark contribution to our understanding of the causes of regional dependency in this country and original contribution to the study of Canadian society

Preface : a return to classical regimes theory / David Edward Tabachnick and Toivo Koivukoski -- Introduction / Geoffrey C. Kellow -- part one. The classical heritage -- 1. The problematic character of Periclean Athens / Timothy W. Burns -- 2. Aristotle's topological politics; Michael Sandel's civic republicanism / David Roochnik -- 3. Living well and the promise of cosmopolitan identity : Aristotle's ergon and contemporary civic republicanism / Michael Weinman -- 4. Groundwork for a theory of republican character in a democratic age / Wendell John Coats, Jr -- 5. Ancient, modern, and post-national democracy : deliberation and citizenship between the political and the universal / Crystal Cordell Paris -- part two. The Enlightenment : an accelerated reception? -- 6. Machiavelli's art of politics : a critique of humanism and the lessons of Rome / Jarrett A. Carty -- 7. Transforming "manliness" into courage : two democratic perspectives / Ryan K. Balot -- 8. Montesquieu on corruption : civic purity in a post-republican world / Robert Sparling -- 9. The fortitude of the uncertain : political courage in David Hume's political philosophy / Marc Hanvelt -- 10. Sparta, modernity, enlightenment / Varad Mehta -- 11. A master of the art of persuasion : Rousseau's platonic teaching on the virtuous legislator / Brent Edwin Cusher -- 12. Civil religion, civic republicanism, and enlightenment in Rousseau / Lee Ward -- 13. Mary Wollstonecraft and Adam Smith on gender, history, and the civic republican tradition / Neven Leddy -- 14. Pinocchio and the puppet of Plato's Laws / Jeffrey Dirk Wilson -- 15. Unity in multiplicity : agency and aesthetics in German republicanism / Douglas Moggach.

Frente a la crisis actual de las humanidades, los especialistas en literaturas clásicas, a la hora justificar su disciplina, suelen adoptar una retórica liberal y humanista. Desde esta perspectiva, se supone que las clásicas son el medio de transmisión privilegiado de valores tales como la democracia, el pluralismo o el respeto por la diferencia. El presente artículo discute contra estos postulados, y para ello analiza las relecturas de los clásicos por parte de las derechas francesas de la primera mitad del siglo XX. Se argumenta aquí que tales lecturas no deben ser simplemente descartadas como una falsificación ideológica, sino que deben hacernos reflexionar sobre el vínculo, a menudo elidido por el humanismo liberal, entre legado clásico y violencia. ; Faced with the current crisis in the humanities, specialists in Classical Studies usually adopt a liberal and humanistic rhetoric when forced to justify their field of study. It is assumed that the Classics are a privileged instrument for the transmission of values such as democracy, pluralism and respect for difference. This article contends against these interpretations, and analyzes the readings of the Classics by the antiliberal French right in the first half of the twentieth century. It is argued here that such readings should not be simply dismissed as an ideological forgery, but should make us reflect on the relation, often elided by liberal humanism, between classical heritage and violence.

Faced with the current crisis in the humanities, specialists in Classical Studies usually adopt a liberal and humanistic rhetoric when forced to justify their field of study. It is assumed that the Classics are a privileged instrument for the transmission of values such as democracy, pluralism and respect for difference. This article contends against these interpretations, and analyzes the readings of the Classics by the antiliberal French right in the first half of the twentieth century. It is argued here that such readings should not be simply dismissed as an ideological forgery, but should make us reflect on the relation, often elided by liberal humanism, between classical heritage and violence. ; Frente a la crisis actual de las humanidades, los especialistas en literaturas clásicas, a la hora justificar su disciplina, suelen adoptar una retórica liberal y humanista. Desde esta perspectiva, se supone que las clásicas son el medio de transmisión privilegiado de valores tales como la democracia, el pluralismo o el respeto por la diferencia. El presente artículo discute contra estos postulados, y para ello analiza las relecturas de los clásicos por parte de las derechas francesas de la primera mitad del siglo XX. Se argumenta aquí que tales lecturas no deben ser simplemente descartadas como una falsificación ideológica, sino que deben hacernos reflexionar sobre el vínculo, a menudo elidido por el humanismo liberal, entre legado clásico y violencia.

"This cutting-edge collection of essays offers provocative studies of ancient history, literature, gender identifications and roles, and subsequent interpretations of the republican and imperial Roman past. The prose and poetry of Cicero and Petronius, Lucretius, Virgil, and Ovid receive fresh interpretations; pagan and Christian texts are re-examined from feminist and imaginative perspectives; genres of epic, didactic, and tragedy are re-examined; and subsequent uses and re-uses of the ancient heritage are probed with new attention: Shakespeare, Nineteenth Century American theater, and contemporary productions involving prisoners and veterans. Comprising twenty essays collectively honoring the feminist Classical scholar Judith Hallett, this book will interest the Classical scholar, the ancient historian, the student of Reception Studies, and feminists interested in all periods. The authors from the United States, Britain, France and Switzerland are authorities in one or more of these fields and chapters range from the late Republic to the late Empire to the present"--

The article deals with the history of the jazz dance, main representatives and pioneers of the art movement, their creative heritage and achievements. Nowadays we may observe the growing interest to the jazz dance, in this connection we are in need of more sources, historical documents, new system of research, investigation of all the information about prominent jazz dancers. Besides, we need new methods in theoretical and practical research; we deal with new aspects in evolution of choreographic art. Jazz, as the art event, is the result of the art evolution, African tribal drum playing skills, rhythm and movements of African Americans (their musical outlets: church hymns, brass bands, spirituals and blues). Peculiarity of jazz dance is characterized by absolutely free movements of a dancer and the parts of his or her body horizontally and vertically in a scene space. Exactly jazz dance embodies all the emotions of a dancer; this is the dance of the emotions, but not forms or ideas, as it happens in choreography of another trends, for example jazz-modern. To follow from the G. Gunter's investigation of jazz dance, the last was quite substantially influenced by traditional cultures of Afro-Brazilian, Afro-Antillean, Afro-Cuban, Jamaica, Haitian, «black south» of the USA.It was mentioned in American ballet encyclopedia that negros (men, women even children) coordinated their moves so skillfully clicking their heels on the floor. Among the real experts of jazz dance was Luigi (nickname), whose was known as the pioneer, doctor of body, ambassador of dance, but mostly – innovator. Historians detected his style as classical jazz complicated, skillful even «fluid fire».The system of exercises he made for himself after road crash became the first in the world which was called completed technique for jazz dance studding. He was so talented person, he could work in different spheres of show-business – from Hollywood musicals up to Broadway shows; he became a new face of musical comedy. He established his personal school «The First World Jazz Centre». Being a good teacher he always knew how to prevent himself form different traumas, and always said to his students «use every possibility to feel everything you do». His teachers were Eddy Jane, Ralf Falkner, Carmelita Maracci, Sam Mints and Micho Ito, Adolf Bolm, Edward Katon, Sally Wellen, Luise de Prone. Choreographers Gin Kelly, Robert Alton were his mentors during his 8- years and 40 movies period.Another very dynamic but different dance makers – Katherine Dunham and Perl Prymus impressed American scenes by expression. These two women were ready to follow the traditions, underline the achievements, complication and force of jazz dance. Prymus made the diapason of emotions of afro-American dancers, showing American audience force, passion, emotions of African culture. Methods of Dunham's dance was unique, she created a very special system of movements and technique to study the style. It was an eclectic confluence of movements, which were investigated in Jamaica and Haiti with ballet and dance modern, integrated in a system of isolation of parts of a body and syncope, which gives to a body a wide specter of movements. Dunham bursted into American culture in the period of social, cultural, political awakening of growing and development. She established a school in 1945 for studding anthropology, sociology, philosophy, and languages in the same portions as step, ballet, folk, percussive, kinetic physical training for the actors.Alvin Ailey American Dance theatre happened as repertory of seven dancers, who dedicated their creativity to a modern dance classic and modern Alvin Ailey's interpretations. Complimentary honorable mentions about their first concerts companies in 1958-1960 th showed the beginning of a new era in dancing, dedicated to Afro-American theme.Alvin Ailey's heritage gives a possibility for free choice between ballet, jazz dance and social dance for a maximum expression of a human internal world by means of movements. He was awarded a lot of prizes, invited to show master-classes in South and North America, England, France, Hungary, Italy, Japan.Through the analysis of jazz dancers' dues into modern choreographic art dancer, choreograph, ballet master get possibility to study their methodological base in details, to understand new approaches in the dance sphere, and to trace art conceptions in choreography to develop our national choreography in general.Keywords: choreography, modern art, jazz dance, dance makers, emotions, syncope, African culture, Afro-American theme, eclectic confluence of movements. ; Йдеться про внесок митців джазового танцю в сучасне хореографічне мистецтво, завдяки якому танцівник, хореограф чи балетмейстер отримує можливість детально вивчати їхню методологічну базу, розуміти нові підходи в галузі танцю та відслідковувати творчі концепції в хореографії, що значно сприяє якісному розвитку вітчизняної сучасної хореографії загалом.Розглянуто творчий внесок Луіджі, якого теоретики танцю вважають послом, піонером джазу, лікарем тіла через його інноваційну методику вправ та комбінацій на розтягнення м'язів аби "відчувати тіло зсередини", а також внесок інших експресивних хореографів афро-американської культури Кетрін Данхем та Перл Примус, їхні унікальні методики опанування та зацікавлення джазовим танцем у період соціального, культурного та політичного становлення Америки.Проаналізовано вплив творчих доробків Елвіна Ейлі, його спадщини, важливість існування якої полягає у можливості вибору між балетом, джазовим танцем, соціальним танцем для максимального вираження внутрішнього світу людини через рух.Ключові слова: джазовий танець, хореографія, сучасне мистецтво, творці танцю, емоції, африканська культура, афро–американська тема, еклектичний потік рухів.

<p>The article continues the series of publications by the author on the art of the Renaissance and the work of Botticelli. The author's concept of "classical art" allows us to establish closer connections with subsequent stages of artistic development, as well as with the Early Renaissance. The multi-level structure of Botticelli's art and the "collage" nature of his works are substantiated. The "universality" of the classics correlates with the gaming strategies of Neoplatonism and Gnosticism. The features that bring the intellectual culture of the Renaissance closer to modern scientific and artistic trends are revealed. New contexts and parallels (Michael Psellus, Honore de Balzac, Arthur Schopenhauer, Alois Riegl, David Hockney, Roy Lichtenstein) allow us to re-evaluate the transformation of the Neoplatonic tradition in European culture. The author rejects rigid interpretations of Gnosticism and Neoplatonism in connection with the work of Botticelli, preferring an "aesthetic" or "poetic" reading. Within the framework of this essentially psychological approach, the author draws attention to the problem of "presence" ("life-likeness"), characteristic of both medieval and modern art. Social issues of interpretation of classical art are touched upon in the article in connection with elements of elitism in the culture of the Medici circle. The concept of "poetry", developed by Petrarch and Boccaccio and going back to ancient prototypes, is fully consistent with this type of "court" culture, which played a decisive role in the development of classical art. The "decadence" of the late Quattrocento and the work of Botticelli as its highest expression were thus the result of very complex intellectual strategies that were continued during the High Renaissance and Mannerism. Particular attention in the article is paid to the revision of the usual views on the historiography of the Renaissance, the actualization of classical art historical concepts. The article returns to the problem of the origins of the semiotic concept of art. Pragmatism and the "irrational" concept of art (appealing to the unconscious) turn out to be quite compatible, that has particular theoretical significance for the revaluation of conventional approaches to the classical heritage.</p>

Preservation of historic heritage is a prevalent question in urban social movements in Ukraine. This article focuses on heritage preservation activists' experiences, including both movements to preserve specific historic sites and monuments, and movements against destruction of the historic environment more generally. We begin by conceptualizing key concepts of heritage preservation movement and offering a background of heritage preservation in a post-soviet setting. This overview is followed by a summary of research findings based on eleven semi-structured interviews with heritage protection activists in major Ukrainian cities. Their activity can be classified firstly based on the strategy of impact (top-down or bottomup); secondly, on the type of historic monuments that they want to preserve (classical architecture, modern (Soviet) architecture and small architectural forms); thirdly, on the territorial scale of their activity (local, municipal or regional); and finally, on their activities (cultural and artistic, political, media and awarenessraising, community-building, etc.).Challenges, identified by activists in their work, were classified as external (related to structural and contextual difficulties), and internal (individual challenges and group dynamics, related to lack of time, resources and institutional knowledge). More generally, the heritage preservation movement in Ukraine is identified by activists as fragmented, reactive, and marked by high institutionalization of grassroots activities and their cooptation. Activists are reflexive of their role in historic preservation and present themselves as the voice of the general public. They identify their impact as creating public resonance, a wide network of passive allies, institutional (as well as internal management) experience for activist initiatives. At the same time, however, they have little faith in the possibility of achieving broader strategic goals. Thus, despite their impact and efficiency in defending specific historic sites, activists are unable to preserve historic heritage in Ukrainian cities on their own. Potential future research includes conducting interviews not only with activists of large cities, but also of smaller towns, as well as using a multi-method approach and supplementing interviews with content-analysis of activists' public statements, as well as taking into consideration the voices of other interested agents in the heritage preservation movement. ; Статтю присвячено досвіду активістів та активісток пам'яткоохоронного руху. Концептуалі­зовано поняття пам'яткоохоронного руху; визначено мету, принципи та напрями діяльності акти­вістів(­ок) пам'яткоохоронного руху, а також перешкоди на їхньому шляху. Діяльність активіс­тів(­ок) класифіковано за впливом (згори­вниз або знизу­вгору), за типом історичних пам'яток, які активістські групи прагнуть захистити (класичну архітектуру, модерну (радянську) або малі архі­тектурні форми), за територіальним масштабом (локальним, місцевим та регіональним) і за ак­тивностями в межах своєї діяльності (культурно­мистецькі, політичні, медійно­просвітницькі, робота з громадою та ін.). Виокремлено такі перешкоди діяльності, як фрагментація, реактив­ність, пришвидшена інституціоналізація низових ініціатив та кооптація. Водночас активісти(­ки) руху визнають свою впливовість через створення публічного резонансу, наявність широкої бази підтримки пасивних союзників, наявність інституційного досвіду в активізмі, а також через зла­годжену внутрішню організаційну діяльність.

Preservation of historic heritage is a prevalent question in urban social movements in Ukraine. This article focuses on heritage preservation activists' experiences, including both movements to preserve specific historic sites and monuments, and movements against destruction of the historic environment more generally. We begin by conceptualizing key concepts of heritage preservation movement and offering a background of heritage preservation in a post-soviet setting. This overview is followed by a summary of research findings based on eleven semi-structured interviews with heritage protection activists in major Ukrainian cities. Their activity can be classified firstly based on the strategy of impact (top-down or bottomup); secondly, on the type of historic monuments that they want to preserve (classical architecture, modern (Soviet) architecture and small architectural forms); thirdly, on the territorial scale of their activity (local, municipal or regional); and finally, on their activities (cultural and artistic, political, media and awarenessraising, community-building, etc.).Challenges, identified by activists in their work, were classified as external (related to structural and contextual difficulties), and internal (individual challenges and group dynamics, related to lack of time, resources and institutional knowledge). More generally, the heritage preservation movement in Ukraine is identified by activists as fragmented, reactive, and marked by high institutionalization of grassroots activities and their cooptation. Activists are reflexive of their role in historic preservation and present themselves as the voice of the general public. They identify their impact as creating public resonance, a wide network of passive allies, institutional (as well as internal management) experience for activist initiatives. At the same time, however, they have little faith in the possibility of achieving broader strategic goals. Thus, despite their impact and efficiency in defending specific historic sites, activists are unable to preserve historic heritage in Ukrainian cities on their own. Potential future research includes conducting interviews not only with activists of large cities, but also of smaller towns, as well as using a multi-method approach and supplementing interviews with content-analysis of activists' public statements, as well as taking into consideration the voices of other interested agents in the heritage preservation movement. ; Статтю присвячено досвіду активістів та активісток пам'яткоохоронного руху. Концептуалі­зовано поняття пам'яткоохоронного руху; визначено мету, принципи та напрями діяльності акти­вістів(­ок) пам'яткоохоронного руху, а також перешкоди на їхньому шляху. Діяльність активіс­тів(­ок) класифіковано за впливом (згори­вниз або знизу­вгору), за типом історичних пам'яток, які активістські групи прагнуть захистити (класичну архітектуру, модерну (радянську) або малі архі­тектурні форми), за територіальним масштабом (локальним, місцевим та регіональним) і за ак­тивностями в межах своєї діяльності (культурно­мистецькі, політичні, медійно­просвітницькі, робота з громадою та ін.). Виокремлено такі перешкоди діяльності, як фрагментація, реактив­ність, пришвидшена інституціоналізація низових ініціатив та кооптація. Водночас активісти(­ки) руху визнають свою впливовість через створення публічного резонансу, наявність широкої бази підтримки пасивних союзників, наявність інституційного досвіду в активізмі, а також через зла­годжену внутрішню організаційну діяльність.

1. Sociological amnesia : an introduction / Alex Law and Eric Royal Lybeck -- 2. British sociology and Raymond Aron / Peter Baehr -- 3. Two men, two books, many disciplines : Robert N. Bellah, Clifford Geertz, and the making of iconic cultural objects / Matteo Bortolini and Andrea Cossu -- 4. Erich Fromm : studies in social character / Kieran Durkin -- 5. From literature to sociology : the shock of Celine's literary style and Viola Klein's attempt to understand it (with a little help from Karl Mannheim) / E. Stina Lyon -- 6. Olive Schreiner, sociology and the company she kept / Liz Stanley -- 7. Lucien Goldmann's key sociological problems and his critical heritage : from the hidden God the the hidden class / Bridget Fowler -- 8. G.D.H. Cole : sociology, politics, empowerment and 'how to be socially good' / Matt Dawson and Chalres Masquelier -- 9. Social monads, not social facts : Gabriel Tarde's tool for sociological analysis / Alvaro Santana-Acuna -- 10. Alasdair MacIntyre's lost sociology / Neil Davidson -- 11. Castoriadis and social theory : from marginalization to canonization to re-radicalization / Christos Memos -- 12. Norbert Elias : sociological amnesia and 'the most important thinker you have never heard of' / Stephen Mennell.

Cover -- Title Page -- Copyright Page -- Dedication -- Contents -- Introduction: Inequality and Democracy's Uncertain Future -- Part I. The Origins of Civil Society -- 1. Civil Society and the Classical Heritage -- The Danger of Private Interest -- The Mixed Polity -- Civil Society and the Res Publica -- 2. Civil Society and the Christian Commonwealth -- Pride, Faith, and the State -- The Christian Commonwealth -- Early Fractures -- 3. Civil Society and the Transition to Modernity -- Virtue and Power -- Civil Society and the Liberated Conscience -- Sovereignty, Interest, and Civil Society -- Part II. Civil Society and Modernity -- 4. Civil Society and the Rise of "Economic Man" -- Rights, Law, and Protected Spheres -- The Moral Foundations of Civil Society -- The Emergence of Bourgeois Civil Society -- 5. Civil Society and the State -- Civil Society and the Ethical Commonwealth -- The "Giant Broom" -- The "System of Needs" -- The Politics of Social Revolution -- 6. Civil Society and Intermediate Organizations -- The Aristocratic Republic -- Civil Society and Community -- The Customs of Civil Society -- American Lessons -- Part III. Civil Society in Contemporary Life -- 7. Civil Society and the Crisis of Communism -- Antistatism and Totalitarianism -- Socialist Civil Society -- Reaching the Limits -- Global Civil Society -- 8. Civil Society and the United States -- Factions, Pluralism, and the Market Model -- Hegemony and the Commodified Public Sphere -- Strategies of Renewal -- Conclusion: Pessimism, Activism, and Political Revival -- Notes -- Bibliography -- Index -- About the Author

Artworks are both artifacts and agents of history that offer their own proposals about the realities that surround them, including conflict and the possibilities for peace. In so doing, they present a framework for reflection that may reveal underexamined didactic texts on alternative ways of dealing with conflicts. Our academic fields are art history and ancient history, and in this essay, we argue that any attempt to locate the contributions of art to the history of peacemaking must begin by rethinking the questions we normally ask ourselves about visual culture (whether archaeological or artistic) and the values that we choose to emphasize. To this end, we first explain the connections between art and peace, and the benefit of the study of art history in researching historical perspectives on peace. We then focus on the analysis of one specific case: the images of the virtues in the ancient Greek and Roman world and their relationship to what we consider to be an enduring culture of peace within the Western tradition. Finally, we show how this classical heritage of peace and the virtues has been kept alive as a useful discourse that has provided an accessible guide to the habits and behaviors (or, as we call them, "virtues") necessary to achieve the desired peace that artworks have long envisioned.

This study addresses castle renovations from the turn of the twentieth century up until the present, focusing on their stylistic aspect. Although castles (both ruined and inhabited) have been considered prominent subjects of heritage conservation since the beginning of the conservation movement, they require architectural additions to further their integration into contemporary life, even if a strictly conservationist approach is applied. In contrast to nineteenth-century European attitude to conservation, the twentieth- and twenty-first-century conservation professionals mostly recommend that the new elements comply with the preserved composition or scale, leaving the question of their style (i.e. a coherent architectural vocabulary) open. The study examines selected Czech examples that feature a substantial newly-added layer (Gothic in Bouzov, the 1890s–1900s; Art Nouveau and Art Deco in Nové Město nad Metují, the 1910s–1920s; Classical in Prague Castle, the 1920s–1950s; Technocratic in Lipnice, the 1970s–1980s; Romantic in Častolovice, the 1990s; Minimalist in Helfštýn, the 2010s). Drawing on these examples, the analysis raises the following questions: how should new additions relate to the authenticity and integrity of the renovated monuments and what variables influence this relationship? Should conservation authorities regulate the vocabulary of modern interventions?

Preliminary material /Peter Bing and Jon Steffen Bruss -- Introduction to the Study of Hellenistic Epigram /Peter Bing and Jon Steffen Bruss -- Poems on Stone: The Inscribed Antecedents of Hellenistic Epigram /Joseph W. Day -- Inscribed Epigram in Pre-Hellenistic Literary Sources /Andrej Petrovic -- The Mutual Influence of Inscribed and Literary Epigram /Anja Bettenworth -- From Archaic Elegy to Hellenistic Sympotic Epigram? /Ewen Bowie -- Sylloge Simonidea /David Sider -- The Arrangement of Epigrams in Collections /Nita Krevans -- Meleager and Philip as Epigram Collectors /Lorenzo Argentieri -- Meter and Diction: From Refinement to Mannerism /Enrico Magnelli -- The Act of Reading and the Act of Writing in Hellenistic Epigram /Doris Meyer -- Gendered Voices in Hellenistic Epigram /Jackie Murray and Jonathan M. Rowland -- Characterization in Hellenistic Epigram /Graham Zanker -- Epigrams on Art: Voice and Voicelessness in Hellenistic Epigram /Irmgard Männlein-Robert -- Tell, All Ye Singers, My Fame: Kings, Queens and Nobility in Epigram /Annemarie Ambühl -- Epinician Epigram /Adolf Köhnken -- The Paradox of Amatory Epigram /Kathryn J. Gutzwiller -- Bucolic Epigram /Karl-Heinz Stanzel -- Satiric Epigram /Gideon Nisbet -- One Things Leads (Back) to Another: Allusion and the Invention of Tradition in Hellenistic Epigrams /Alexander Sens -- Glossing Homer: Homeric Exegesis in Early Third Century Epigram /Evina Sistakou -- Epigram and the Heritage of Epic /Annette Harder -- Inscribing Lyric /Benjamin Acosta-Hughes and Silvia Barbantani -- The Hellenistic Epigrams on Archilochus and Hipponax /Ralph Rosen -- Epigram and the Theater /Marco Fantuzzi -- Philosophers and Philosophy in Greek Epigram /Dee L. Clayman -- Hellenistic Epigram in the Roman World: From the Beginnings to the End of the Republican Age /Alfredo M. Morelli -- Roman Imperial Receptions of Hellenistic Epigram /Gideon Nisbet -- The Modern Reception of Greek Epigram /Kenneth Haynes -- Bibliography /Peter Bing and Jon Steffen Bruss -- Indexes /Peter Bing and Jon Steffen Bruss.

This research was funded by the French ANRT (Association Nationale Recherche Technologie - ANRT) industrial Cifre PhD contract with SEGULA Technologies, the Andalusian Excellence project P18FR-4961 and the Spanish National Project PID2020-119478GB-I00. S. Tabik was supported by the Ramon y Cajal Programme (RYC-201518136). N. Diaz-Rodriguez is currently supported by the Spanish Government Juan de la Cierva Incorporacion contract (IJC2019-039152-I). ; The latest Deep Learning (DL) models for detection and classification have achieved an unprecedented performance over classical machine learning algorithms. However, DL models are black-box methods hard to debug, interpret, and certify. DL alone cannot provide explanations that can be validated by a non technical audience such as end-users or domain experts. In contrast, symbolic AI systems that convert concepts into rules or symbols – such as knowledge graphs – are easier to explain. However, they present lower generalization and scaling capabilities. A very important challenge is to fuse DL representations with expert knowledge. One way to address this challenge, as well as the performance-explainability trade-off is by leveraging the best of both streams without obviating domain expert knowledge. In this paper, we tackle such problem by considering the symbolic knowledge is expressed in form of a domain expert knowledge graph. We present the eXplainable Neural-symbolic learning (X-NeSyL) methodology, designed to learn both symbolic and deep representations, together with an explainability metric to assess the level of alignment of machine and human expert explanations. The ultimate objective is to fuse DL representations with expert domain knowledge during the learning process so it serves as a sound basis for explainability. In particular, X-NeSyL methodology involves the concrete use of two notions of explanation, both at inference and training time respectively: (1) EXPLANet: Expert-aligned eXplainable Part-based cLAssifier NETwork Architecture, a compositional convolutional neural network that makes use of symbolic representations, and (2) SHAP-Backprop, an explainable AI-informed training procedure that corrects and guides the DL process to align with such symbolic representations in form of knowledge graphs. We showcase X-NeSyL methodology using MonuMAI dataset for monument facade image classification, and demonstrate that with our approach, it is possible to improve explainability at the same time as performance. ; French National Research Agency (ANR) ; SEGULA Technologies ; Andalusian Excellence project P18FR-4961 ; Spanish National Project PID2020-119478GB-I00 ; Spanish Government RYC-201518136 ; Spanish Government Juan de la Cierva Incorporacion contract IJC2019-039152-I