Browsing by Subject "Publicity"

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Open Access
Rethinking expressive theories of punishment: why denunciation is a better bet than communication or pure expression
(Springer Netherlands, 2017) Wringe, B.
Many philosophers hold that punishment has an expressive dimension. Advocates of expressive theories have different views about what makes punishment expressive, what kinds of mental states and what kinds of claims are, or legitimately can be expressed in punishment, and to what kind of audience or recipients, if any, punishment might express whatever it expresses. I shall argue that in order to assess the plausibility of an expressivist approach to justifying punishment we need to pay careful attention to whether the things which punishment is supposed to express are aimed at an audience. For the ability of any version of expressivism to withstand two important challenges, which I call the harsh treatment challenge’ and the ‘publicity challenge’ respectively. will depend on the way it answers them. The first of these challenges has received considerable discussion in the literature on expressive theories of punishment; the second considerably less. This is unfortunate. For careful consideration of the publicity challenge should lead us to favor a version of the expressive theory which has been under-discussed: the view on which punishment has an intended audience, and on which the audience is society at large, rather than—as on the most popular version of that view—the criminal. Furthermore, this view turns out to be better equipped to meet the harsh treatment challenge, and to be so precisely because of the way in which it meets the publicity challenge. © 2016, Springer Science+Business Media Dordrecht.
Open Access
The monument of the present: the Fossati restoration of Hagia Sophia (1847-9)
(Edinburgh University Press, 2024-09-19) Menevşe, Aslı; Neumeier, Emily; Anderson, Benjamin
In 1847, architect Gaspare Fossati embarked on an ambitious restoration project for Hagia Sophia on the orders of Sultan Abdülmecid I. The Sultan, his bureaucrats, and the myriad agents of the restoration chose the restored monument to act as the face of a modern Ottoman state and society when Tanzimat was searching for forms that communicated social and political cohesion. This article builds its arguments on the exchange between the French-language Ottoman press and European newspapers regarding the restoration of Hagia Sophia, which culminate in the analysis of a crucial—but neglected—visual document: the commemorative lithographic album (1852) published by Gaspare Fossati with the support of Sultan Abdülmecid I. The Album and the Francophone press embraced the diverse identities of the building – Byzantine cathedral, imperial mosque, and world heritage monument— to present the political and social vision behind this co-existence of differences as distinctively Ottoman. Through their efforts, the restored Hagia Sophia was presented as a privileged historical-aesthetic site and a living monument, where the conciliation between tradition and reform seemed possible.