Weder der offizielle Staat noch die Gesellschaft, und besonders die Schriftsteller, scheinen im Byzanz zu betonen oder zu erkennen, daß die Fälschung bzw. das «Plagiat» ein strafbares Vergehen – der herrschenden Meinung der Neuzeit gemäß – ausmacht. Das «Plagiat» hat meines Wissens die Forscher der byzantinischen Literatur nicht so beschäftigt, daß die Arbeiten von Stemplinger und Ziegler über das Plagiat in der Antike auch für Byzanz fortgesetzt würden. Weder Franz Dölger noch Sp. Troianos und K. Pitsakis, die sich mit den (...) unechten bzw. gefälschten juristischen und anderen offiziellen Schriften befaßten, haben das «Plagiat» bei den byzantinischen Autoren speziell behandelt. Und doch gibt es Anzeichen dafür, daß beim Verfassen eines neuen Werkes frühere Schriften oder Werke von ähnlichem Inhalt in größerem Ausmaß herangezogen wurden. (shrink)

As is well known, Lucian’s masterpiece Verae Historiae can be read as a travesty of Homer’s Odyssey. The present paper argues that with his fantastic voyage Lucian reacts not just to the Odyssey itself but also to the recent interpretation of the Odyssey by the Middle Platonic and Neopythagorean philosopher Numenios of Apameia. Lucian’s purpose, therefore, in writing the Verae Historiae was presumably to give back to Odysseus some of the resilience that interpretations like that of Numenios had taken (...) away from him, and in general to set mythological poetry free once again from the constraints the philosophers had laid on it. (shrink)

The article shows that Odysseus in Sophocles’ _Ajax_ and _Philoctetes_ is at the centre of a redefinition of the concept of “nobility”. This figure has been seen to promote a new definition of the concept, but previous analyses tended to focus only on one or the other of the two plays, as Odysseus appeared too dissimilar to be considered from the same viewpoint. A closer analysis reveals that he defends the same values and is endowed with the same (...) non-élite features in both plays. Among those values is the idea that nobility has nothing to do with descent, but with the ability at proving helpful to the whole social group. The perception other characters have of Odysseus, however, changes between the first and the second play. This change can be linked to the evolution of Athenian society. With the development of democracy, non-élite citizens redefined concepts such as _eugeneia_. (shrink)

In the Odyssey, there is a description of Odysseus being recognized by his age-old and decrepit dog Argos, whom he had reared and trained himself before his departure for Troy. This so-called Argos episode (Od. 17.290–327) is still famous today. It has been continuously treated by generations of scholars from antiquity to our time and served as an inspiration to both the visual arts and literature. The present article deals with the function and intended effects of the Argos (...) scene. After a brief synopsis of the position of this scene within the Odyssey as well as of its content and structure, the author discusses the role of dogs in the Iliad and the Odyssey. The focus of this article lies on the interpretations of the Argos scene, suggested by scholars so far, and on their review by means of a close reading to check their plausibility. (shrink)

ZusammenfassungDie Odysseus-Verfügung ist als besondere Form der Patientenverfügung zumindest in der Literatur hinlänglich bekannt. Die Verwendung des Begriffs und damit sein Gegenstandsbereich sind hingegen noch immer umstritten. Zudem wird oft nicht beachtet, dass es innerhalb dieses Gegenstandsbereichs Varianten von OVs zu differenzieren gilt, die sich auch in ihrer moralischen Rechtfertigung unterscheiden. Nicht zuletzt ist die Grundstrukturstruktur dieser Rechtfertigung umstritten. Vor diesem Hintergrund plädieren wir im Folgenden zunächst für eine Eingrenzung des Begriffs, mit der argumentative und klinisch-praktische Verwirrungen vermieden werden (...) können. Anschließend betrachten wir zwei Varianten von – Zwang legitimierenden – OVs, die sich in der individuellen Kompetenz des Destinatärs unterscheiden. Schließlich zeigen wir, dass deren Rechtfertigung ungeachtet des Umstandes, dass OVs auf Wiedererlangung der Urteils- und Steuerungsfähigkeit des Patienten angelegt sind, weder in einer gemutmaßten noch gar in einer faktischen retrospektiven Billigung von Zwang durch den Patienten liegt. Die primäre Legitimationsgrundlage von OVs besteht vielmehr in der ex ante erfolgenden Autorisierung durch den Betroffenen selbst. Die hier einzuräumende Autorität wiederum basiert auf dem Recht jeder Person auf lebensplanerische Selbstbestimmung. In einem kurzen abschließenden Teil skizzieren wir dann noch die besondere Bedeutung der Odysseus-Vereinbarung als einer Unterform der OV. (shrink)

’Aυαγυώρισις γàρ διόλov, says Aristotle of the Odyssey,2 and throughout the poem's second half, with which we are here concerned, there is indeed a series of progressive recognitions as Odysseus reveals himself to Telemachos, Eurykleia, Eumaios, the suitors, Penelope and finally Laertes. So the importance of the opposite is not surprising; without concealment and deception there could be no eventual recognition. Concealment is of course necessary if Odysseus is to survive in the face of so many enemies, as (...) Athena tells him. But in addition, in any work of imaginative literature, so long as the reader or audience is aware of the truth, concealment and unperceived identity open the door to all sorts of half-truths and ironies – possibilities most obviously explored in tragedy and later comedy, but also made use of in the Odyssey. The irony which may be inherent in the arrival of the ‘nameless stranger’ has been most thoroughly explored by Fenik;3 here we examine a further implication. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 125.1 (2004) 145-147 [Access article in PDF] Nancy Worman. The Cast of Character: Style in Greek Literature. Austin: University of Texas Press, 2002. xiv + 274 pp. Cloth, $45. In this ambitious and interesting book, Nancy Worman uses selected texts from Homer through Gorgias and other rhetorical theorists to examine the conjunction of a speaker's verbal and visible, corporeal mannerisms (a combination she describes (...) in Pierre Bourdieu's term, "bodily hexis") that produces a style of social behavior that conforms to Greek culture's traditional expectations and ideas (Bourdieu's "habitus"). Having "Cast" in the title thus emphasizes the visual: "the cast of character" is the set of "physical and linguistic mannerisms that mark a speaker as a type conforming to a set of socially familiar categories" (1). Its visibility and adherence to type would seem to make character transparent and behavior predictable, and so it seems they are in many cases. But a cast is, after all, an appearance. Alongside this sense of familiarity, argues Worman, the Homeric poems already show a recognition of the dangerous allure of visual style and the possibility that outward character might be separated from inner qualities—a recognition that grows sharper in tragedy and culminates in distrust of the sophists in many quarters. Worman argues that those durable characters, Helen and Odysseus, respectively, embody these two dangers, and she centers her discussion on them.This is a promising way to look at Greek literature, and Worman carries her approach out well in her readings of particular texts. Perhaps the most suggestive aspect of the book, however, is that it asks us to reconsider our understanding of "style," which we tend to think of as purely textual and rhetorical in the tradition of Aristotle. Worman argues that until the fourth century B.C.E., the Greeks had a traditional understanding of style that was much broader: the projection of character type through bodily hexis(understood as the combination of verbal and corporeal habits). Plato and Aristotle, she suggests, in different ways and each for his own reasons, suppressed the bodily aspects of style that were crucial to the traditional conception, and an adequate account of Greek ideas about style has to begin not with them but with that tradition. In Worman's treatment of it, "style" refers not just to the social performances of characters within texts but also to the performance of the texts themselves (epic, drama, and deictic oratory). Worman comments on the metapoetic (or metarhetorical) dimension of these texts, whereby the bodily hexisof the performer, often in rich costume, either confirms (and is confirmed by) the characters' behavior or undermines it. Her statements to this effect tend to be unsystematic and general, but the approach works extremely well in the case of Gorgias. In the Encomium of Helen, the orator's rich robes and delivery embody and exert the sensual power of language that Gorgias describes and that Helen herself exemplifies, whereas in the Palamedes, by calling attention to performance, the robes and delivery undermine Palamedes' insistence on the convergence of bodily hexisand essential character.It may seem peculiar that "bodily hexis" comprises linguistic as well as physical behavior, and in Worman's actual practice, the phrase does get stretched [End Page 145] considerably at times. But she insists that the Greeks thought of language as corporeal, that performance for them was "a whole-body experience of language" (194). Here, too, the argument is more convincing for rhetorical theory than for the archaic period. There may be more of a problem, however, with the method of presentation in the chapters on epic and tragedy, which often begs the question of language as part of bodily hexis, than there is with the idea itself, which is quite attractive.After an initial chapter that discusses key terms (kosmos, ethos, and characte \ r), Worman devotes two chapters to Homer. It was probably not the best strategy to treat verbal and corporeal behavior separately in successive chapters, although Worman gives her reasons for doing this. Not only does this... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Siren Songs: Gender, Audiences, and Narrators in the OdysseyErwin F. CookLillian Doherty. Siren Songs: Gender, Audiences, and Narrators in the Odyssey. Ann Arbor: University of Michigan Press, 1995. viii 1 220 pp. Cloth, $37.50.Siren Songs makes a significant contribution to feminist literature on Homer. Most importantly, Doherty is able to show in detail how the very sensibilities that make Homer appealing to the modern reader can seduce (...) the unwary into accepting the poem’s androcentric frame of reference. If her book’s ideological model based on gender and class hierarchy leads to repeated imprecisions and reductionism, this affects its argument in detail, but not in outline.Doherty’s methodology is objectivist, assumes an essentialist definition of the female, and consciously avoids positioning the Odyssey in the context of archaic Greek gender constructions. One place where she at least acknowledges that the Odyssey originated in a specific culture exposes a problem some will have with this book: “It may be objected that my conclusions are hardly surprising given the aristocratic focus of early Greek epic and the patriarchal norms of archaic Greek society. In this context, it may be urged, the surprise is to see lower-class and female characters even this fully represented” (170). She responds that her conclusions refute arguments by Farron and Rose that in giving prominence to female and lower-class characters Homer makes an antiaristocratic statement. This tactic runs the risk of reducing her own efforts to a book-length refutation of a pair of articles.Many Homerists will also be surprised to read that “the production and reception of a narrative text is never a direct act of communication between the author and the external audience but a ‘bracketed’ or mediated communication” (87). Thus, the poem’s external audience is not “composed of living human beings, who have read and judged the epic since its creation, but... a hypothetical audience posited by the epic narrator” (19). Further, no true repetition exists in literature (182–83). These assertions derive from critical approaches to the modern novel, and although true to a certain extent of all literature they are arguably least true of poetry composed in performance using metrical formulae.Chapter 1 surveys scholarship on whether Penelope recognizes Odysseus before the mnesterophonia. Doherty argues that Penelope’s motivation remains obscure because of an accumulation of narrative indeterminacies created by multiple focalization (45–46; though cf. her apparent assumptions on 143). She lauds Felson-Rubin and Winkler for their insistence on regarding Penelope as an agent capable of acting in her own self-interest, and equal to her husband in metis. Yet they ultimately fail to stand outside the poem’s androcentric frame of [End Page 461] reference and to see that Penelope’s excellence is based on traits she shares with males. It thus becomes necessary to establish narrative openings that expose “instabilities within ideology” (52) or permit the reader “to project active and even subversive female subject positions” (63). Narrative redundancies serving to reinforce the androcentric frame must also be acknowledged, however, for opening the text may inadvertently render its androcentric frame more palatable.Chapters 2 and 3 reconstruct the poem’s internal and external audiences. Doherty argues that these audiences included women. Although Eumaeus’ ability to evaluate the beggar’s storytelling ability proves he is no stranger to epic performance, he “must be considered an ‘overhearer’ rather than a member of the regular audience” (72–73). Eumaeus can, however, support a very different view of class relationships in Homer: when Telemachus appears unexpectedly, Eumaeus kisses his eyes and greets him as a father greets a long-absent son, and Telemachus addresses him as atta; Eumaeus is able to buy a slave on his own; and he may have an advisory role at court since he says he used to question people claiming to have seen his master.The Nekuia is central to Doherty’s project in these chapters. Odysseus’ decision to pause after his catalogue of women divides the Nekuia “roughly along gender lines, and draws attention to the fact that the internal audience of Phaeacians is also marked for gender” (67). In her approval of Odysseus’ tale, Arete... (shrink)

In many jurisdictions, legal frameworks afford patients the opportunity to make prospective medical decisions or to create directives that contain a special provision forfeiting their own ability to object to those decisions at a future time point, should they lose decision‐making capacity. These agreements have been described with widely varying nomenclatures, including Ulysses Contracts, Odysseus Transfers, Psychiatric Advance Directives with Ulysses Clauses, and Powers of Attorney with Special Provisions. As a consequence of this terminological heterogeneity, it is challenging for (...) healthcare providers to understand the terms and uses of these agreements and for ethicists to engage with the nuances of clinical decision‐making with such unique provisions surrounding patient autonomy. In theory, prospective self‐binding agreements may safeguard patient's “authentic” wishes from future “inauthentic” changes of mind. In practice, it is unclear what may be comprised within these agreements or how—and to what effect—they are used. The primary focus of this integrative review is to curate the existing literature describing Ulysses Contracts (and analogous decisions) used in the clinical arena, in order to empirically synthesize their shared essence and provide insights into the traditional components of these agreements when used in practice, the requirements of their consent processes, and the outcomes of their utilization. (shrink)

The paper proposes a new interpretation of Timon's attack on Arcesilaus in fr. 806 SH.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Homeric Durability: Telling Time in the Iliadby Lorenzo F. GarciaJonas GrethleinL orenzoF. G arcia. Homeric Durability: Telling Time in the Iliad. Hellenic Studies 57. Washington, D.C.: Center for Hellenic Studies, 2013. Distributed by Harvard University Press. viii + 321 pp. Paper, $22.50.The philosophy of Heidegger continues to cast a spell on some Classicists. It is less Heidegger’s own interpretations of Greek authors that serve as stimulus than the (...) main work of his early career, Sein und Zeit(Halle 1927), that seems to invite applications to ancient texts. Reading such studies as Shanske’s Thucydides and the Philosophical Origins of History(Cambridge 2007), I keep wondering to what extent the attractiveness of Heidegger to some Classicists ultimately derives from the impact that ancient texts may have had on the formation of his philosophy. Attending a humanistisches Gymnasium, Heidegger received a thorough training in Greek and must have read a fair amount of ancient texts in the original. Besides tying in with the existentialism of his day, the gloomy nature of Heidegger’s philosophy is highly reminiscent of what is traditionally referred to as Greek pessimism. It is easy, for instance, to sense in the concept of “ Sein zum Tode” an echo of the sentiment of the Herodotean Solon that “we must look to the conclusion of every matter and see how it will end” (Hdt. 1.32.9). The common tenor notwithstanding, applying Heidegger’s philosophy of Being to the interpretation of ancient literature is a daunting task.In Homeric Durability: Telling Time in the Iliad, Garcia draws on Heidegger to show that “the subject of the Iliad... is time itself and the durability of its objects to withstand time’s withering flow” (5). Garcia claims that the tenet of Heidegger’s philosophy of time plays out in the Iliadat various levels. For Heidegger, Daseinis defined by death, which is always impending and thereby constitutes its totality. Daseinis essentially Sein zum Tode(“being-toward-death”). This, Garcia argues, is reflected in the temporal economy of the Iliadwhich hinges on the notion of “not yet” already encapsulating a “no longer.” Various physical objects, humans, and, to some extent, also gods are presented as enduring, but fated to fade. Garcia’s central argument is that they thereby reflect the temporal dynamics of epic poetry itself. To him, kleos aphthitondoes not imply the idea of eternity, but a duration that entails its own ending. Before discussing the soundness of this argument in conjunction with its deployment of Heidegger, let me give a brief synopsis of the individual chapters.In chapter 1, Garcia elaborates on “the rhetoric of time and memory”; while “time has disintegrating effects..., memory in a pure or ideal form, on the other hand, preserves its object against time” (45). This dialectic comes to the fore in Iliad2 where the rotting of the ships and the flagging morale of the [End Page 481]Greeks indicate the “loss of cohesion through waiting” (55). At the same time, Garcia claims, Odysseus’ intervention illustrates the power of memory. Odysseus reminds the Achaeans of Calchas’ prophecy which he remembers as if “it was either yesterday or the day before” and “thereby seeks to undo the disintegration of the Achaeans’ emotional resolve” (63). The tension between the decaying force of time and the attempt at recuperation through memory yields the framework for the investigation of various entities and their temporal dynamics in the main part of the book.The second chapter is devoted to the fate of the bodies of Sarpedon, Patroclus, and Hector. In the eyes of Garcia, “the preservation of these exquisite corpses serves as an analogue within the poem for the very project of the epic commemoration of Achilles—as if the epic were a ‘freezing’ of temporal flow against the ravages of time” (66). However, neither the application of ambrosia and nectar nor funeral rites achieve permanent preservation: bodies can be removed from time only temporarily. They are subject to “the logic of the ‘still perfectly’ and ‘not yet’” (94) and thereby mirror the fame of Achilles which, despite its longevity, carries its termination in itself.In chapter... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes and Fragments PLATONIC ELEMENTS IN KAFKA'S "INVESTIGATIONS OF A DOG" by Lewis W. Leadbeater Few critics of Kafka, and certainly few German critics of Kafka, have been willing to allow for much of any classical influence on his works. There are exceptions, but for the most part these commentators can bring themselves to admit only the fact Kafka endured with distaste his lengthy involvement with the classical languages (...) and literature and that, if in any way, he was influenced only in terms of syntax or style.1 Yet it is certain that Kafka read classical literature with interest and that he was well acquainted with classical epic, tragedy, philosophy, and mythology. The wandering Odysseus, the sea god Poseidon, tortured Prometheus —all these and other classical figures are to be found in his works. Indeed, a recent interpretation of The Trial involves a discussion of it in comparison with the trial of Socrates.2 The fact is that Kafka knew Plato's Apology and counted as one of his prized possessions a copy of Plato's Phaedrus. He and Brod read Plato together in high school.3 Are we really to assume, then, that, given Kafka's philosophical bent, he saw no relationship between Plato and the later philosophers, like Kierkegaard for instance, with whom he was quite taken, and that given his fertile mind and penchant for metaphor, Kafka reflects only Platonic syntax?4 Quite the contrary; we must, I think, cede his classicism to Kafka, and in the discussion which follows I should like to point out that in one of the short stories, "Investigations of a Dog," parable and metaphor blend as well as they do because of Platonic influence, and especially that of the Apology and the Phaedrus. Kafka's animals pervade his works in both metaphor and simile. Gregor Samsa awakes one morning to find himself transformed into a gigantic beetle; Joseph K dies, at the end of his trial, like a dog, and it is a questioning canine which investigates the meaning of dog104 Lewis W. Leadbeater105 ness in "Forschungen eines Hundes." Generally the animalistic metaphor involves removal, alienation, and isolation— a loss of kinship with humanity to be sure, but more important a loss of communication, an inability to communicate, and hence an emphasis on all-encompassing, frustrating silence. The natural result for these people turned animal is an involvement in a process of severe introspection frequently linked with the pursuit of some idea or ideal which will provide a hitherto unknown, transcendent nourishment for a famished, alienated soul. Such is certainly the case with Gregor Samsa and quite possibly the case with Joseph K; it is in fact such pursuits which lie at the heart of the researches of our investigating Dog. Though any attempt to pinpoint the source of Kafka's penchant for animalistic metaphors is quite certainly futile, one might well posit as paradigmatic the alienation plays of Aristophanes involving animals, and certainly the notion of a psychological link between man and beast is present in Plato's Phaedrus, a dialogue in which the soul metaphor itself involves horses, and one in which there is considerable discussion of the interchangeability of the souls of men and beasts.5 As noted above such interchangeability or transformation occurs regularly in Kafka; within the ugly form of beetle lay the psyche of Gregor Samsa. Perhaps within the not-so-ugly canine form of our investigating hound lies the soul of Socrates. Consider for a moment the character of our Dog in light of Plato's Socrates as he appears in the Apology. To begin with, the Dog, as he tells us, is a solitary creature, withdrawn and involved solely in his "investigations" (p. 278).6 In addition, he fully realizes that he is different from the rest of his species (p. 279) and that indeed at times he feels rejected by his kind, realizing as he does that his investigations run counter to the traditional values of his species, a species by which he had hoped at one time to be accepted with great honor (p. 308). What he has capitulated to is "questions" which, furthermore, have quite removed him from normal... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 84-106 [Access article in PDF] Irony in the Platonic Dialogues Charles L. Griswold, Jr. I INTERPRETERS OF PLATO have arrived at a general consensus to the effect that there exists a problem of interpretation when we read Plato, and that the solution to the problem must in some way incorporate what has tendentiously been called the "literary" and the "philosophical" sides of Plato's (...) writing. The problem is created by the fact that Plato wrote in dialogue form, indeed a specific type of dialogue form. The solution must somehow combine into a coherent theory of the "meaning" of the dialogues, the ways in which these texts work (such as the use of imagery, metaphor, myth, allusion, irony, as well as argument). At the same time, there exists enormous disagreement about how one ought to move from these general observations to interpretation of a particular text. 1The problem of interpretation lies not merely in the fact that Plato wrote dialogues. That alone would not necessarily present any hermeneutical issues of unusual difficulty. Plato's distinctive use of the dialogue form creates the difficulties. The genre that we might call "the Platonic dialogue" is distinguished by several relevant characteristics.First, there is no character called "Plato" who speaks in any of the dialogues; indeed, "Plato" is mentioned twice in the entire corpus, once as being absent (Pho. 59b10), and once as being present (Apol. 38b6). Authorial anonymity is thus an important feature of the dialogues. 2 At least ab initio, we are not justified in identifying Plato with any one of his characters. Indeed, there are positive reasons why he cannot be identified even with Socrates, as I will discuss below. 3 Plato is absent from his own texts; no simple act of reading them will allow us to ascertain what his views are. 4 It does not follow that Plato's views are [End Page 84] entirely absent from the dialogues—say, in the form of some mysterious "esoteric teaching"—and that they cannot be elicited by a complex act of reading. Just how Plato's views are to be extracted has been, again, the subject of a very long debate. 5 I myself think that Plato's views can be so elicited. 6 But the fact of his anonymity as author means that "Plato's meaning" is not ascertainable in the way that, say, "Kant's meaning" may be ascertainable in the Critique of Pure Reason.A second feature of Plato's dialogues contributes to the interpretive puzzle. The dialogues are clearly fictional in character. They are not—they could not be—transcriptions of conversations which took place. Some dialogues could not have taken place even when the interlocutors were historical figures (for example, at the Phaedrus' ostensible dramatic date the real Phaedrus was not in Athens). Not only are many of the characters entirely fictional, there is clear evidence that even "Socrates" is very much a fictionalized version of the historical character. I am referring not just to the famous statement in the (possibly inauthentic) Second Letter, 7 but to the fact that the Socrates of Plato's dialogues is presented as being a super-human character. This is evident from Alcibiades' description of him in the Symposium as well as from a number of subtle fictions. For example, Plato has Socrates narrate the entirety of the Republic from memory, without a single moment of hesitation or (so far as the reader can tell) any lapse of memory. This fantastic feat is complemented by Socrates' equally fantastic stamina in conversation. The lengthy Protagoras, for example, is narrated in its entirety by Socrates immediately after the dialogue itself has occurred. Socrates never shows any fatigue of any sort. It is not just hyperbole to say that Plato's Socrates is heroic; he is carefully compared, in passages I cannot examine here, to both Achilles and Odysseus. Socrates' absolute calm and self-control before death also evidence his superhuman character. The relation between the historical Socrates and the Platonic Socrates is the source of much fruitful controversy. It suffices for... (shrink)

Many Filipina care workers are subrogated to the position of mothers in the more affluent states of Asia. As a consequence, they oftentimes play as the unofficial teachers of the children. In this article, I analyse the process of global subrogation, which often end in what I call an inverted odyssey of the Filipina domestic helper. Using the concept of invertedness in commodity fetishism, this article reads Jose Dalisay’s Soledad’s Sister as an inverted odyssey which views the migration of Filipina (...) care workers as an adventure but without the heroic homecoming. The novel represents the adventure as a dialectic of systems of carelessness and selfcare that is symbolically resolved within the narrative through the recurring image of the ‘woman in the box’. Thus, the article argues that unlike Odysseus’ triumphant nostos (homecoming), the heroine of this inverted odyssey falls victim to her own erotic drives, drowns in a far-flung kingdom, returns home in a box, and drowns again in the hands of thieves. The novel weaves a counter-narrative on the Filipina care worker that challenges prevailing Philippine state discourses on its overseas work force, thereby problematizing both the limitations of the heroine’s selfcare and the systemic carelessness of the states that make the subrogation possible. Ultimately, the inverted Odyssey as symbolized by the novel’s central image of ‘the woman in the box’ shatters appearances and unveils the tragic position of the unrecognized ‘teachers’ in the global feminization and commodification of care work. (shrink)

In this interpretation of the Odyssey, Seth Benardete suggests that Homer may have been the first to philosophize in a Platonic sense. He argues that the Odyssey concerns precisely the relation between philosophy and poetry and, more broadly, the rational and the irrational in human beings.

This article focuses on Homers idea of reflexive rhetoric. The majority of Homeric deliberation scenes contain no deliberative calculi. One approach to this problem would be to generalize from the scenes where Odysseus uses deliberative calculi to those where he does not. One might argue, though, that data have to be transmitted to and outputted from a computer via interfaces, one where data are transformed into electrical impulses, and one where the output is printed as information. The deliberative calculus (...) cannot be the essential link between deliberation and persuasion, though it undoubtedly figures into the process of self-persuasion to the extent that it either explicitly or implicitly brings about a particular decision. In this perspective, the fact that Homer is frequently silent about deliberative calculi is irrelevant to the question of whether Odysseus persuades himself. The idea of Homeric rhetoric is alleged to pose the problem of anachronism. Moving toward an account of reflexive rhetoric allows to see in even greater detail the centrality of rhetoric to human condition. Accession Number: 18705553; Mifsud, Mari Lee 1; Affiliations: 1: Department of Rhetoric and Public Address, Whitman College.; Issue Info: 1998, Vol. 31 Issue 1, p41; Thesaurus Term: RHETORIC; Thesaurus Term: AUTHORSHIP; Thesaurus Term: LITERATURE; Subject Term: HOMER; Subject Term: ODYSSEUS (Greek mythology); Subject Term: ERRORS & blunders, Literary; Subject Term: PHILOSOPHY; Number of Pages: 14p; Document Type: Article. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 124.1 (2003) 143-146 [Access article in PDF] William V. Harris. Restraining Rage: The Ideology of Anger Control in Classical Antiquity. Cambridge, Mass.: Harvard University Press, 2001. xii + 468 pp. Cloth, $49.95. It is a mark of evolving interests in the discipline that a well-known ancient historian should choose to write a major book on the ancient understanding of a single emotion. This reflects both (...) an ever-widening conception of what social history can include (and of how social and political history are interconnected) and the intense study in recent years of ancient ideas about the nature and therapy of the emotions, especially in Hellenistic and Roman philosophy. This book combines specificity of focus with breadth of evidence examined. The topic is not just anger but, more precisely, the ideology, broadly understood, of anger control. The evidence discussed ranges from Homer to early Christian ideas in late antiquity; it embraces literature, historiography, and philosophy, among much else. The combination of a single line of enquiry and comprehensiveness of material is crucial to the character and value of this study.The project of the book can be defined more exactly. Harris sets out to examine the evidence for ancient thought about anger and to contextualize it, placing it in a socially oriented history of ideas. This project explains the structure of the book. Part 1 considers the relevant material, above all the Hellenistic-Roman philosophical treatises on control of anger, and explores questions of method and approach. Key points include the difference between Greek or Roman and modern English vocabulary, such as the Greek distinction between violent temper ( orge \) and "spirit" or impulse ( thumos), and the importance of placing the Hellenistic treatises in a developing tradition of emotional self-control from the fifth century B.C. onwards. Part 2, the largest, connects Greco-Roman thought about the restraint of anger with salient features of political and social structure; this is extended, in part 3, to family life and the treatment of slaves. Part 4 returns to ancient ideas, especially in philosophy, about anger as a "sickness of soul" to be treated by "therapy"; these ideas are now placed within a larger history of anger control from archaic Greece to late antiquity.Inevitably, with a topic of such breadth, some of the discussion surveys material examined more fully by scholars writing from more specialist standpoints. This is so, for instance, in the review of philosophical ideas on control of anger in chapters 6 and 14-15 (though these ideas have not, I think, been assembled before in a single study). The main originality of the book lies in the social contextualization of ideas, particularly in parts 2 and 3. Here, a set of substantively new claims are offered, bearing especially on the explanation of the [End Page 143] prominence of the theme of anger control in Greek and Roman culture. For instance, the presentation of Achilles' rage in the Iliad as intensely problematic, taken with the more positive characterization of Odysseus' revenge (which depends on restraint of anger) in the Odyssey, is seen as expressing a growing awareness of the dangers of heroic or kingly rage in a period (ca. 700 B.C.) when the Greek archaic city-states were emerging from their pre-polis form (chapter 7, especially 145-46). Analogously, the preoccupation with the destructive impact of violent anger ( orge \) and the reiterated stress on emotional control ( so \ phrosune \) in the fifth and fourth centuries B.C., in contexts such as drama, historiography, and oratory, are taken as integral elements of the growth of cooperative life in the polis. Harris draws on Norbert Elias's thesis that the internalisation of doctrines restraining the motives (including anger) that generate violent aggression constitutes a key part of the development of civilized society (150).A comparably wide range of sources is reviewed for Roman attitudes; much of the evidence is drawn from the late Republic, a period when violent anger played a major role in the disruption of social and political order—although this connection is not... (shrink)

This article attempts to establish and examine the context of the two remaining mythological paintings in the Macellum, the central market of Pompeii. Panels of Io and Argos and of Penelope and Odysseus grace the interior walls, and while the identification of the Penelope figure has been the subject of debate, she clearly derives from Greek prototypes of Penelope, both material and theatrical. Indeed, scholars suggest that the Io panel and perhaps the Penelope painting as well are copies of (...) Greek panel paintings created by a fourth-century B.C. artist, but it is argued here that their pairing seems to be a Roman creation and that they were part of a larger narrative program. The paintings are compositional opposites and share the narrative technique of depicting moments of quiet tension; this choice of narrative moment is one that began in the Greek world; particularly during the Hellenistic period, and was developed and enhanced by the Romans. Moreover, this interest in creating tension for the spectator, and in the relationship between viewer and image, is also demonstrated by the inclusion of a spectator figure in the Penelope painting. Although the other paintings do not survive, their subjects are known from a nineteenth-century drawing and from nineteenth-century descriptions, and these too share the same narrative technique. If the lost paintings are copies of Greek originals, then the Macellum may have served as a picture gallery for Pompeii's inhabitants. A careful reading of the Macellum paintings of Greek myths, their juxtaposition and relationship to each other, and their reception in Roman literature and society reveals that the paintings were arranged as a program, a moralizing ensemble, designed to instruct the viewer on the proper behavior of Roman matrons. (shrink)

In this paper I propose an emendation for a long-standing textual problem in the Satyricon. In the Cena Trimalchionis one of the freedmen, Niceros, recounts a bizarre story, culminating in a frightening encounter between him and a werewolf. In a desperate attempt to escape peril, Niceros draws his sword to repel horrific shadows and utters a sequence of eleven letters which has puzzled scholars for more than a century: matavitatau. I propose a correction which hypothesizes the presence of a verb (...) and an interjection, namely gladium strinxi etmatavi – tatae! –umbras cecidi. I support my proposal by analyzing the intersections between literary genres and poetic texts in the Satyricon. After analyzing the meanings and nuances of tatae, I argue that the presence of such an exclamation is perfectly suitable for the situation of fear and danger that Niceros is experiencing. I suggest that Homer’s Odyssey and Vergil’s Aeneid offer decisive indications to make the presence of an interjection plausible. Niceros’ dreadful encounter with the werewolf recalls epic models, namely the descent of Odysseus and Aeneas into the Underworld. Finally, I suggest that Petronius portrays Niceros as a mythomaniac narrator who fails to appropriate the conventions of Latin and Greek epic poetry. (shrink)

"Alternative Selves" and Authority in the Fiction of Jane Urquhart The article engages with "alternative selves," a concept found in The Stone Carvers by a Canadian writer, Jane Urquhart. Her fiction is first seen in the context of selected texts by Lucy Maud Montgomery, Margaret Laurence and Alice Munro, who explore the clash between female characters' conventional roles and their "secret" selves. My analysis was inspired by Pamela Sue Anderson's A Feminist Philosophy of Religion, which stresses the need for "reinventing (...) ourselves as other" in the face of biased beliefs and dominant epistemology. In particular, my article refers to Anderson's concern with Kant's imaginary from The Critique of Pure Reason, where "the territory of pure understanding" is projected on the island, while desire, chaos and death are identified with the sea. Seen through the prism of a feminist reading of the philosophical imaginary, the sea becomes the female beyond. Urquhart's three novels: Away, The Stone Carvers and A Map of Glass dissolve the opposition between Kantian island and water, by showing how reason is invaded by desire and death, and how the female protagonist embodies the elements that have been repressed. Urquhart's fiction, which is "landscape driven," provides the image of a dynamic relationship between the qualities that form a static binary opposition in Kantian discourse. Mary in Away, Klara in The Stone Carvers and Sylvia in A Map of Glass all subvert the dominant epistemology by following their desire, which becomes "a positive energy" and not "a deviation from a good rational norm," to refer to another concept by Anderson. Urquhart's Mary, Klara and Sylvia have to contend with power vested in collective beliefs and stereotypical construction of femininity. By venturing into the liminal zone beyond the territory of "pure understanding," the three protagonists regain their voices and discover their authority. The article ends with the analysis of a Homeric intertext in A Map of Glass, where Sylvia identifies with Odysseus "lashed to mast" so that he would not respond to the call of the siren song. Reading Homer's passage on the siren song, one realizes that the use of the Kantian imaginary turns Ithaca into the island of truth, and the sea into the stormy beyond, identified with desire, death and femaleness. While the Odyssey suppresses the dangerous message of the siren song, Urquhart's fiction rewrites it and reclaims it as positive inspiration for the female protagonist. (shrink)

A close reading of the contexts of several Homeric passages reveals that Homer often uses εἰδώς with ironic force. This realization sheds light on several passages discussed herein, including: 1) Homer's description of the location of Ithaca, which is shown to be Odysseus’ strategic lie that directs the Phaeacians to the local stronghold (nearby Dulichium), and 2) the manuscript reading of Parmenides B1.3, which is shown to harbour no internal conflict even if its εἰδότα φῶτα (‘one who knows’) is (...) in a state of confusion (ἄτῃ), because εἰδότα can signal incomplete or confused knowledge, or even a lack of it. Other literary clues in Parmenides B1 are shown to support this reading. (shrink)

: Erich Auerbach's famous comparative study of Homer and the Bible, "Odysseus' Scar," argues that their contrastive styles derive from the different possibilities available to oral tradition and literature. In support of this thesis, I invoke two theories of verbal art: Walter Benjamin's description of the storyteller's craft, and Victor Shklovsky's definition of art as "defamiliarization." Through a comparative analysis of the use of type-scenes in Homer and in biblical narrative, I demonstrate how Homer is a traditional storyteller, (...) practicing an "art of the familiar," whereas biblical narrative "defamiliarizes" traditional forms. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scamander and the Rivers of Hades in HomerC. J. MackieAt odyssey 10.488–95, in response to Odysseus' request that he and his men leave her island, Circe states that they must venture to Hades to consult with the Theban seer Teiresias. She gives Odysseus some basic instructions on how to get there and what to do there (10.504–40): he should cross Ocean and beach his ship where there (...) is a remote coastline and a grove of Persephone. He should then go himself to the house of Hades, where he should dig a pit and pour a libation. The location of Hades in the passage is further identified as a meeting point of four separate rivers: Acheron, Pyriphlegethon, Cocytus, and Styx:(10.513–15)There into Acheron flow Pyriphlegethon and Cocytus, which is a branch of the water of Styx, and there is a rock, and the junction of the two resounding rivers.The presence of a river, or a prominent body of water, characterizes the topography of the Underworld in many traditions, and Homer's Hades is no exception. Even though the Underworld in Homer is not really very clearly defined (indeed in Odyssey 10 and 11 it is scarcely "under" at all), one can at least say that rivers and gates are typical features of its landscape. Thus in the Iliad when Patroclus' apparition complains about Achilles' tardiness in conducting a funeral for him, it is specifically gates, 74) and a river (, 73) that he mentions as characteristics of Hades.1 Equally noteworthy is that no name for the river is given by Patroclus, which makes this Odyssey reference to four specific rivers (plus Oceanus) rather striking;2 for such a well–defined topography appears to conflict with the otherwise vague descriptions of Hades in Homer. In the Iliad the only named river in the Underworld is the Styx (2.755,3 8.369, 14.271, 15.37), with no reference to the other three. Likewise in the Odyssey Styx is referred to elsewhere (as the river that gods swear by, Od. = 5.184–86 Il. 15.36–38), but there is no other mention of Acheron, Pyriphlegethon, or Cocytus. Most important, there is no reference to any of these rivers when Odysseus actually conducts his quest to Hades (Odyssey 11), nor in the Second Nekuia of the Odyssey (24.1–204).4 Thus here in Odyssey 10 there seems to be a sudden proliferation of clearly defined rivers: "the rivers have multiplied: Okeanos comes in and so do Pyriphlegethon and Kokytos as well as Styx, and also Acheron."5In response to the apparent suddenness of four Underworld rivers, and the fact that Hesiod seems to know only Styx (Theog. 383, 389–403, 775–806), questions inevitably emerge about the authenticity of the passage. Merry and Riddell in their 1886 edition of the Odyssey felt that such a precise geography was out of keeping with early notions of Hades and that the passage may therefore be a later intrusion. Likewise, more recently, Vermeule raises the question whether it is "possible that these lines have been retrojected into the Odyssey text, in the late sixth or early fifth century."6 The question is not very easily resolved, because even later post–Homeric literature continues to allude [End Page 486] only in a very basic fashion to the Underworld rivers, rather than providing any expansive vision of them.7 Thus it is difficult to be precise about when, and by what process, the individual Underworld rivers enter into Greek perceptions of the afterlife. The names of the rivers (especially Cocytus, from, the verb used in Homer for the high– pitched wail of female mourners) seem to be connected with the pain and suffering associated with death, the funeral rites, and the process of cremation.8 In this sense there is an association with the transition from life to death, and it is appropriate in this context that Odysseus is told that he will meet these rivers on the way to Hades. At some point, however, Acheron, Cocytus, and Pyriphlegethon (in addition to Styx, which is indisputably very early) became fundamental landmarks of Hades itself, and... (shrink)

Building on the work of Scheid and Svenbro regarding the political significance of weaving in Greek literature, this essay attempts to proffer the Odyssey’s political teaching through an interpretation of Penelope’s wily weaving of the burial shroud for the former king, Laertes. Homeric scholars have often noted the multiple oddities surrounding the shroud; few critics have noted the peculiarity of the dethroned Laertes. In spite of recent attempts by scholars such as Halverson, ‘The Succession Issue in the Odyssey’, to (...) discredit political interpretations of the Odyssey as well as Homer’s understanding of kingship, I contend that Homer is presenting the institution in a state of transition. The shroud for Laertes will thus provide an interpretive key for narrating both the change of office enacted by Odysseus’ rule and the new political order formed at the end of the Odyssey. (shrink)

Im Rahmen psychiatrischer Behandlungen ergeben sich immer wieder Situationen, in denen ärztliche Interventionen zwar dringend erforderlich sind, die Patientinnen und Patienten aber krankheitsbedingt nicht aufgeklärt in die Behandlung einwilligen können oder sie sogar ablehnen. In dem Beitrag soll erstens gezeigt werden, dass es sich bei derartigen Situationen tatsächlich um moralische Dilemmata handelt. Das liegt daran, dass das medizinethische Prinzip, Behandlungen nur nach aufgeklärter Einwilligung durchzuführen, nicht nur auf dem Recht auf Selbstbestimmung beruht, sondern auch auf dem Recht auf Integrität des (...) Körpers und der Intimsphäre sowie dem Recht, keinem Zwang ausgesetzt zu werden. Alle drei Rechte sind wiederum eng mit dem Schutz der Würde der Patienten verbunden. Zweitens soll gezeigt werden, dass der Abschluss von Behandlungsvereinbarungen einen ethisch attraktiven Ausweg aus derartigen Dilemmata bieten kann, weil Behandlungsvereinbarungen eine Unterform sogenannter Odysseus-Verträge sind, die dazu geeignet sind, auch im Rahmen von Zwangsmaßnahmen die Würde der Patientinnen und Patienten zu wahren. (shrink)

This paper considers characteristic views advanced in the past fifteen years that may be considered relatively sympathetic to student practices of cheating on graded assignments or exams. We detect and analyze typical fallacies that are recurrent in articles that promote a revisionist view of cheating as morally permissible. We offer a general, deontological argument that cheating is immoral. The efforts to justify student cheating take several forms. For example, it has been argued that cheating may be tolerated if the student (...) did not intend to cheat, perhaps because of a failure to understand the normal rules or expected procedures. We also argue that student collaboration in graded work constitutes cheating even if the instructor condones such collaboration. In a similar vein, we address the view that student copying is cheating even if the instructor alters the rules to allow such copying. This moral view can be applied to any cheating behavior, we argue. As a specific example, we demonstrate how it can be applied to the pedagogical recommendation that instructors should encourage their students to cheat in order to cultivate student skills in the area of cyber security. We also address the view that student cheating can be justified by situations in which the student believes that he/she is being subjected to an unfair or unethical overall learning environment. (shrink)

Plato inaugurated the Western tradition of political philosophy in his effort to vindicate the memory of Socrates and prevent future persecutions of philosophy. To attain this double objective, Plato embedded teachings and distributed themes with a view to appropriately revealing and withholding insights. The ultimate crucible for heuristically testing this Platonic method is Plato's distribution of themes of eros and force. Eros and force parallel the two cardinal features of the erotic Socrates who was suspected of guiding ambitious youths to (...) demagogic careers. Plato's metaphysics, dominated by his theory of Forms or Ideas, similarly originated in indignation at Socrates' legal murder and anguish about the future of philosophy. By positing fixed, eternal, and immutable standards, Plato seeks to preempt the litigious excesses, oratorical shenanigans and legalistic leeway that once made it possible to charge and convict Socrates. The reference of what is actual to a transcendent standard of truth served also to usher in the western tradition of textual embeddedness of meanings. This means that original political philosophy, understood as Platonic philosophy, is a relationship between form and content---between "how" something is articulated in writing and "what" is written. After the onslaught of the diagnostic critique of western thought, unleashed mainly by Nietzsche and Heidegger, the revival of esotericism in our century has been useful in unlocking Platonic interpretation and in showing Plato's text to be dependent on an inextricable interweaving between form and content. (shrink)

Within the bosom of the humanities philosophy reposes and, as an academic field, it is ever so often criticized for its aloofness. In a recent book, Roudometof and Dessi (2022, 9-10) politely quip that philosophy’s engagement with the “glocal” has been “resilient,” transacted mostly “without encroaching on other fields.” Philosophy’s ostensible remoteness stems in part from its institutional affiliation with, cultivation and deployment of often forbiddingly technical tools of logical analysis. Although the academic field comprises a manifold of specialities, with (...) resentment often arising against prohibitively technical branches, I narrow my focus to an understanding of “philosophy” as an activity engrossed in logical analysis, and I will plead as defence of this avowed postulation that by so doing, operationally as it were, I can argue that philosophy can make critical and salutary contributions to the burgeoning field of glocalization studies, which is so ably canvassed in the book edited by Roudometof and Dessi. Notwithstanding the promissory note offered above, and since my definition of philosophy may seem unduly restrictive, it is incumbent on me to disambiguate across related notions and to make an initial case as to both the plausibility and arguable pay-offs from taking philosophy in the way I just adumbrated. This is a substantive issue as it relates to a case I will be making as to what philosophy may have to offer to the study of glocalization. (shrink)

M'illumino/d'immenso - I'm lit/with immensity is Geoffrey Brock's translation of Giuseppe Ungaretti's poem Mattina. In the poem's minimalism, Ungaretti points to the maximal: the richness of poetry's expressive possibilities and the power of thinking in literature. This book addresses the fascination of readers to transcend the boundaries of their own in fiction, and literature's capacity, according to Kant, even to evoke, with the help of the development of aesthetic ideas, representations that exceed what is empirically and conceptually graspable (...) - in case studies about myths of creativity, images of death and the beyond after the 'death of God', of the soul, of melancholy as the dark ground of genius, of metamorphoses of both evil and good, of ecstasy, of the economy of self-sacrifice, of the art of resistance, and, among others, about figurations of biography and the portrait as approaches to singularity, what is particular and cannot be fully subsumed to any universality. (shrink)

An inadequate grasp of the role of imagination has vitiated understanding of human cognition in western thinking. Extending a project initiated with George Lakoff in _Metaphors we Live By_ (1980), Mark Johnson's book _The Body in the Mind_ (1987) offers the claim that all thinking originates in bodily experience. A range of schemata formed during our early experience manipulating a physical world of surfaces, distances, and forces, lays the foundation of later, more abstract modes of thought. In presenting his argument, (...) Johnson lays special stress on the qualities and dynamics of the image schemata, the (generally unnoticed) metaphoricity of the transformations underlying abstract thought, and the new significance that should be attributed to the imagination, which is the general term Johnson wishes to claim for the mental processes he expounds. In this paper I draw attention to the importance of Johnson's insights for understanding literary response. In particular, I will show how a typical procedure of literary texts involves bringing to awareness image schemata of the kind that Johnson describes. At the same time, several problems in Johnson's account which limit its usefulness will also be examined: an undue reliance upon the spatial properties of schemata; a conflation of dead with live or poetic metaphors; and a neglect of other bodily influences on thought, especially kinaesthetic and affective aspects. These problems, for example, limit the usefulness of Johnson's attempt to build on Kant's theory of imagination. In comparison with Coleridge, who also attempted to build on Kant, Johnson is unable to overcome the formalism of Kant's theory. Coleridge's account of imagination, I will suggest, provides a better foundation for examining the bodily basis of meaning, while remaining compatible with Johnson's intentions and his more valuable insights. (shrink)

(1996). Surprise in literature. Angelaki: Vol. 1, No. 1, pp. 58-68.

How does literature illuminate the way we live? Maurice Natanson, a prominent champion of phenomenology, draws upon this method's unique power to show how fiction can highlight aspects of experience that are normally left unexamined. By exploring the structure of the everyday world, Natanson reveals the "uncanny" that lies at the core of the ordinary. Phenomenology--which involves the questioning of that which we usually take for granted--is for Natanson the essence of philosophy. Drawing upon his philosophical predecessors Edmund Husserl, (...) Alfred Schutz, and Jean-Paul Sartre, Natanson paves his own way with stories and examples that themselves bear witness to how phenomenology occurs in literature. In considering such works as Samuel Beckett's Waiting for Godot, Thomas Mann's The Magic Mountain, and Franz Kafka's The Metamorphosis, Natanson shows how literature opens us to the domain of possibility and how metaphor offers philosophical power when we think about freedom and change. This book, written by one of the twentieth century's leading phenomenologists, will interest students in philosophy and in literature. They will value the work particularly for its clarification of concepts and terms that frequently emerge in the contemporary intellectual climate. (shrink)

This collection emphasizes a cross-disciplinary approach to the problem of scale, with essays ranging in subject matter from literature to film, architecture, the plastic arts, philosophy, and scientific and political writing. Its contributors consider a variety of issues provoked by the sudden and pressing shifts in scale brought on by globalization and the era of the Anthropocene, including: the difficulties of defining the concept of scale; the challenges that shifts in scale pose to knowledge formation; the role of scale (...) in mediating individual subjectivity and agency; the barriers to understanding objects existing in scalar realms different from our own; the role of scale in mediating the relationship between humans and the environment; and the nature of power, authority, and democracy at different social scales. (shrink)

Perception is, at least sometimes, something we do. This paper is concerned with how to account for perceptual agency (i.e., the active aspect of perception). Eilan divides accounts of perceptual agency up into two camps: enactivist theories hold that perceptual agency is accounted for by the involvement of bodily action, while mental theories hold that perceptual agency is accounted for by the involvement of mental action in perception. In Structuring Mind (2017), Sebastian Watzl aligns his ‘activity view’ with the mental (...) action route and develops the view that the mental activity of attending infuses perceptual experience with agency. Moreover, Watzl claims that his view can accommodate enactivist intuitions, while rejecting their claims about embodiment.In this paper, we scrutinize the relevant notion of mental action involved in the mental action route. We analyze the involvement of the body in overt acts of attention (like sniffing and smelling) and argue that a constitutively embodied account of mental action provides a better analysis of overt attention than a conjunctive account in which overt attention involves a bodily and a (separate) mental action. Furthermore, we argue that the standard cases of covert attention (such as the Posner paradigm) involve the body in multiple ways.In closing, we discuss the relevance of our analysis for the debate on perceptual agency and the embodied mind thesis. We conclude that the embodied mental action route to theorizing perceptual agency provides the best analysis of perceptual agency but comes with significant commitments about the embodiment of attention. (shrink)

Through the examination of anti-psychiatric theory and literary texts, this timely and thought-provoking volume explores the possibilities of liberating our habitual patterns of perception and consciousness beyond the confines of a capitalist era. In Post-Capitalist Subjectivity in Literature and Anti-Psychiatry, Skott-Myhre asks the question, how might we be different if we didn't live in a capitalist society? By drawing on Marxist and post-Marxist theory, and conducting nuanced analysis of the professional writings of anti-psychiatrists including Basaglia and Laing, and the (...) work of fiction writers Kafka and Garcia Marquez, the text identifies alternative conceptualizations of the self. Focusing in particular on portrayals of institutions and the family, Skott-Myhre proposes that these social systems offer new modes of reading the world and ourselves which will transform social organization and free subjectivity from dominant capitalist structures. This transdisciplinary text responds to a revitalized interest in alternatives to traditional psychology, an interest in life beyond capitalism, and the crisis in the traditional family. Post-Capitalist Subjectivity in Literature and Anti-Psychiatry will offer timely reading for graduate students, researchers, and scholars in the fields of cultural studies, psychology, philosophy, family studies, and interdisciplinary studies. (shrink)

Ekphrasis is familiar as a rhetorical tool for inducing enargeia, the vivid sense that a reader or listener is actually in the presence of the objects described. This book focuses on the ekphrastic techniques used in ancient Greek and Roman literature to describe technological artifacts. Since the literary discourse on technology extended beyond technical texts, this book explores 'technical ekphrasis' in a wide range of genres, including history, poetry, and philosophy as well as mechanical, scientific, and mathematical works. Technical (...) authors like Philo of Byzantium, Vitruvius, Hero of Alexandria, and Claudius Ptolemy are put into dialogue with close contemporaries in other genres, like Diodorus Siculus, Cicero, Ovid, and Aelius Theon. The treatment of 'technical ekphrasis' here covers the techniques of description, the interaction of verbal and visual elements, the role of instructions, and the balance between describing the artifact's material qualities and the other bodies of knowledge it evokes. (shrink)

The question of what is philosophy, leads, it would seem, inevitably to diverse and conflicting, if not at times contradictory, answers. It is not only a matter of different philosophic perspectives, but also of fundamentally opposed conceptions of philosophy. Varying philosophic intentions and aims underlie what is taken to be the nature of philosophy and disagreement abounds. Philosophies then tend to differ not so much in terms of what they disagree about but what they consider philosophically sound and important. Phenomenology (...) may share some concerns about basic philosophic problems, like intentionality, with ordinary language philosophy. But they diverge again sharply about the question of what philosophy should accomplish for, and what difference it makes to, human knowledge and understanding. The one sees intentionality as the pervasive structure of human consciousness and reality, and the other sees it as simply part of the various ways in which the uses of language can explain, and thus do away with, philosophical questions on perplexity. This difference about what philosophy should accomplish, its purpose, is not resolvable. It is what on each approach must be considered the very nature of philosophy and its primary task. (shrink)

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

The United Nations World Tourism Organization has acknowledged 2020 as the worst year in tourism history due to the worldwide pandemic COVID-19. Destinations, tourists, local communities, stakeholders, and residents, and their daily activities were affected. Thus, wellbeing and resilience are two crucial variables to help the industry and the people recover. This research aims to analyze early positive approaches and attitudes to respond to the negative impact of COVID-19 in tourism everyday activities that have at its core wellbeing and resilience, (...) the two main variables of the Positive Psychology field of studies. A systematic literature review was conducted, following PRISMA guidelines to achieve this aim. The research was done using the Online Knowledge Library and all the available databases. The research led to 32 articles that were screened using the inclusion and exclusion criteria. A total of 18 scientific articles met all criteria. Overall, results show that a positive and resilient approach to deal with the adverse outcomes of the pandemic is a concern for stakeholders and the future of the organizations in the tourism and hospitality sector, as is tourists’ wellbeing. However, less research has been done on wellbeing and a clear lack of research regarding residents’ wellbeing and resilience is evident. A deeper study of wellbeing and resilience in tourism is needed, and actual practices and interventions to ensure that all tourism actors have the resources to overcome the pandemic and restart the industry’s daily lives feeling well and safe. (shrink)

Untying Things Together helps to clarify the stakes of the last fifty years of literary and cultural theory by proposing the idea of a sexuality of theory. In 1905, Freud published his Three Essays on the Theory of Sexuality, the book that established the core psychoanalytic thesis that sexuality is central to formations of the unconscious. With this book, Eric L. Santner inverts Freud’s title to take up the sexuality of theory—or, more exactly, the modes of enjoyment to be found (...) in the kinds of critical thinking that, since the 1960s, have laid claim to that ancient word, “theory.” Santner unfolds his argument by tracking his own relationship with this tradition and the ways his intellectual and spiritual development has been informed by it. Untying Things Together is both an intellectual history of major theoretical paradigms and a call for their reexamination and renewal. Revisiting many of the topics he has addressed in previous work, Santner proposes a new way of conceptualizing the eros of thinking, attuned to how our minds and bodies individually and collectively incorporate or “encyst” on a void at the heart of things. Rather than proposing a “return to theory,” Santner’s book simply employs theory as a way of further “tying together” the resources of philosophy, art and literature, theology, psychoanalysis, political thought, and more. (shrink)

Volume 23, Issue 2, June 2019, Page 120-123.

Poetry of life in literature and through literature, and the vast territory in between - as vast as human life itself - where they interact and influence each other, is the nerve of human existence. Whether we are aware of it or not, we are profoundly dissatisfied with the stark reality of life's swift progress onward, and the enigmatic and irretrievable meaning of the past. And so we dramatise our existence, probing deeply for a lyrical and heartfelt yet (...) universally valid sense of our experience. It is in great works of literature that we seek those hidden springs that so move us. It is in honour of this search that this collection focuses on the creative imagination at work in literature and aesthetics. (shrink)