La letteratura cerca di dare un ordine al disordine della vita e della storia. Per questo succede che un personaggio immaginario come Robin Hood risulti troppo amante della libertà e del disordine per essere solamente letterario, e così generazioni di studiosi ne hanno cercato tracce nelle vicende reali della storia inglese. La tradizione delle ballate popolari ha invaso il teatro e la letteratura donando all'immaginario collettivo di tutta Europa l'illusione di poter progettare il disordine. _ Literature tries to give (...) order to the disorder of life and history. This is why it happens that a fictional character like Robin Hood is too lover of freedom and disorder to be merely literary, and so generations of scholars have sought traces of him in the real events of English history. The tradition of folk ballads has invaded theatre and literature, giving the collective imagination throughout Europe the illusion that disorder can be planned. _. (shrink)

Nel Medioevo tante volte presentato dalla letteratura come un grande romanzo di avventure, un posto decisamente particolare spetta alla vicenda di Tommaso Becket, prima cancelliere di re Enrico II e poi arcivescovo di Canterbury, assassinato nella sua cattedrale nel 1170. Si tratta di una vicenda che presenta i motivi fondamentali di ogni racconto epico e tragico. Ispirandosi a questa convinzione l’articolo ripercorre alcune delle maggiori opere letterarie che hanno raccontato da diversi punti di vista lo scontro tra Becket e il (...) suo re: alcune delle agiografie medievali, Alfred Tennyson, Conrad Ferdinand Meyer nel XIX secolo, e – nel XX – Thomas Stearns Eliot, Christopher Fry e Jean Anouilh. Del _vero_ Tommaso Becket è assai difficile riuscire a farsi un’idea precisa, mentre sembra realizzarsi la grande metafora, proposta da Giovanni di Salisbury, suo stretto collaboratore, della vita e della storia come rappresentazione teatrale in cui hanno importanza decisiva solo i ruoli che gli uomini sono chiamati a interpretare. _In the Middle Ages, so often depicted in literature as a great adventure novel, a very special place belongs to the story of Thomas Becket, firstly chancellor of King Henry II and later Bishop of Canterbury, murdered in his cathedral in 1170. _ _This episode presents the fundamental motifs of every epic and tragic tale. Inspired by this conviction, this article examines some of the most significant literary works that have described the conflict between Becket and his king from different points of view: some of the medieval hagiographies, Alfred Tennyson, Conrad Ferdinand Meyer in the 19th century, and – in the 20th – Thomas Stearns Eliot, Christopher Fry and Jean Anouilh._ _It is very difficult to get a precise idea of the _real_ Thomas Becket, while the great metaphor proposed by John of Salisbury, his close collaborator, of life and history as a theatrical representation in which only the roles that men are called to play are of decisive importance, seems to have been realized._. (shrink)

English summary: In "Also Spoke Zarathustra," Nietzsche referred to, considerably more than in his other writings, the sum-total of the western tradition and condensed within it our cultural heritage in a stupendous synthesis, which he configured in a curious space of citations, parodies, and echoes. Already the colorful singularity makes the text an important bearer and filter of tradition and a model case, on which literary and philosophical approaches, confronted with the question of cultural memory and Nietzsche's reassessment of it, (...) are able to mutually compliment and illuminate each other. This anthology documents a spectrum of possible avenues into Nietzsche's chief work, into his characteristic dynamic of recreation, and to the specific forms in which he actualized the compression of western tradition in "Zarathustra." The pathos of "Zarathustra," Nietzsche's parody, and the concept of cryptomnesia (the forgotten memory), in which the transvaluation of tradition is placed within the horizon of productive forgetting, are therefore special challenges for literary studies as well as the thinking of the present. German description: In 'Also sprach Zarathustra' bezieht sich Nietzsche weit mehr als in anderen Schriften auf den Fundus der abendlandischen Uberlieferung und verdichtet mithin unser kulturelles Erbe in einer riesigen Synthese, die sich als eigentumlicher Spielraum von Zitaten, Parodien und Anklangen konfiguriert. Gerade die schillernde Singularitat dieser Synthese macht den Text zu einem bedeutenden Trager und Filter der Tradition und somit zu einem Modellfall, an dem sich literaturwissenschaftliche und philosophische Zugangsweisen, die sich mit der Frage nach dem kulturellen Gedachtnis und dessen Umwertungspraxis bei Nietzsche konfrontieren, erganzen und gegenseitig beleuchten konnen. Der Sammelband dokumentiert ein Spektrum moglicher Zugange zu Nietzsches Hauptwerk, zu seiner charakteristischen Dynamik der Neuschopfung und zu den spezifischen Formen, in denen sich die Verdichtung der Tradition im 'Zarathustra' artikuliert. Das Pathos Zarathustras, Nietzsches Parodie und der Kryptomnesie-Begriff, der die Umwertung der Tradition in den Horizont eines produktiven Vergessens stellt, werden dabei zu besonderen Herausforderungen der Literaturwissenschaft sowie des Denkens der Gegenwart. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PARODY AND THE ARGUMENT FROM PROBABILITY IN THE APOLOGY by Thomas J. Lewis Over a century ago James Riddell pointed out that Socrates' defense speech in die Apology closely followed the standard form of Athenian forensic rhetoric. He called the Apology "artistic to the core," and he identified parts of "the subde rhetoric of this defense."1 Since then many scholars have explicated the rhetorical elements in Socrates' defense.2 (...) Their work has led in turn to recent attempts to integrate the rhetorical form into an overall understanding of the meaning and significance of the Apology? The puzzle to be solved is what to make of the fact that Socrates disclaims the ability and the intention to use rhetoric in a speech which is itself a rhetorical masterpiece. R. E. Allen raises the possibility thatby using the techniques ofrhetoric and at the same time denying that he is using them Socrates is dissembling or lying. However, Allen rejects this possibility and interprets Socrates' falsehood as only a surface or apparent falsehood. According to Allen it is ironic parody of a disreputable rhetoric which seeks to convince without concern for the truth.4 For Allen the object of the parody is base rhetoric in general, the type of rhetoric denounced by Socrates in the Gorgias as "rhetoric aiming at gratification and pleasure, and indifferent to truth and the good of the soul."5 Two subsequent articles, one by Kenneth Seeskin, the other by Douglas Feaver andJohn Hare, support the view that Socrates is parodying the debased form of rhetoric. However, they place somewhat different emphasis on the exact object of the parody. They argue that the object of Socrates' rhetorical parody is Gorgias' Pahmedes, rather than pandering rhetoric in general.6 After summarizing the many rhetorical similarities between Gorgias' Palamedes and Socrates' defense speech, Seeskin concludes that "Gorgias' Philosophy and Literature, © 1990, 14: 359-366 360Philosophy and Literature Palamedes is not a masterpiece of world literature; it is a collection of topoi—tried and true devices for winning acquittal... [whereas] despite his disclaimer, Socrates' speech is no amateur performance. On the contrary, he knew all the tricks of the trade and employed them with consummate skill" (p. 97). Seeskin uses Plato's Gorgias to explain how Socrates' rhetoric fits within an overall understanding of the Apology. He notes the two types ofrhetoric presented in the Gorgias: base rhetoric, a species of flattery which aims at gratification; and philosophic or true rhetoric which aims at improving the soul. Then Seeskin makes a crucial point. He insists it is not enough to distinguish between base rhetoric and philosophic rhetoric; there must be a way to identify a given instance of rhetoric as either base rhetoric or as philosophic rhetoric. Moreover, he cautions that distinguishing the one from the other is no easy task. "It is impossible to tell them apart on the basis of technique alone. Base rhetoric is no less polished for its baseness.... Nor can one tell them apart on the basis of their stated goals. Flattery succeeds only to the extent that it can pass itself off as something better" (p. 98). Thus, if Socrates and Palamedes employ the same rhetorical devices, Seeskin wonders how we can tell which type ofrhetoric is in the Apology. "Somewhere in the Apology of Socrates there ought to be a clue which allows one to distinguish his defense from the 'standard' defense composed by Gorgias" (p. 99). Seeskin finds the clue in the exordium, where Socrates denies that he is a skillful speaker: "Unless, of course, by a skillful speaker they mean one who speaks the truth. If that is what they mean, I would agree that I am an orator, though not after their pattern" (17b). Although Palamedes makes a comparable claim, Seeskin argues that Palamedes was concerned with appearance rather than truth, and that the key to appearance is the use of the argument from probability. According to Seeskin, Socrates does not rely on the argument from probability, whereas this argument permeates the Palamedes. "Again and again, the speaker tries to show that it would be implausible to suppose that anyone in his position did what he is accused of doing. How... (shrink)

In this dissertation, I examine historical and contemporary versions of the ontological argument for God’s existence and objections to it, focusing on versions of the argument that contain Linkage Premises. I argue that the most plausible kind of objection to these and other ontological arguments is a version of the parody-style counterargument found in contemporary literature. If this counterargument succeeds, it results in a reductio ad absurdum of the ontological argument. I then examine the relationship between being and (...) goodness found in certain medieval philosophers such as Aquinas, Augustine, and Boethius. I argue that this view is coherent and plausible. Then, I argue that for versions of the ontological argument that contain a Linkage Premise to succeed, both against my counterargument and on their own terms, the proponent must presuppose the Convertibility Thesis of Being and Goodness. Finally, I argue that greater attention ought to be paid to this medieval view, not only for its positive results related to the ontological argument, but also because of its relevance in other ethical, metaethical, and metaphysical matters. (shrink)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)

Wissenschaft mit Unterschieden: Parodie und Paradies in Margaret Cavendishs The Blazing World (1666). Mit ihrer utopischen Erzählung The Blazing World (1666) ist Margaret Cavendish, Duchess of Newcastle, eine der wenigen Autorinnen der Frühen Neuzeit, die sich sowohl im Feld der Literatur als auch der Naturphilosophie betätigten. Auf den ersten Blick scheint die Welt jenseits des Nordpols, in die die Protagonistin nach gewaltsamer Entführung und Schiffbruch gerät, ein weibliches Wissenschaftsparadies: Nach eilig erfolgter Vermählung mit dem Kaiser regiert sie eigenverantwortlich über die (...) wissenschaftlichen Institutionen ihres Reichs und debattiert mit Bären‐, Vogel‐, Wurmmännern und ähnlichen Hybridwesen über die neuesten wissenschaftlichen Errungenschaften. Bald schon stellt sich jedoch heraus, dass ihre „Wissenschaftler“ denjenigen der englischen Realität sowohl in ihrer blinden Begeisterung für neue Forschungsinstrumente wie in ihrem ermüdenden Austausch von Meinungen und Glaubenssätzen durchaus ähnlich sind. Unterstützung für ihre Kritik und für eigene Forschungs‐ und Schreibprojekte findet die Protagonistin in der Autorin selbst, der Duchess of Newcastle, in deren Welten sich die beiden gemeinsam begeben. Parodie und Satire, die auf zeitgenössische Modetorheiten im Umfeld der Royal Society abzielen, stehen im Fokus des vorliegenden Aufsatzes ebenso wie utopische Perspektiven, die durch die Eröffnung neuer Denkräume entstehen. Auf dem von ironisch kommentierten Fetischen und Hybriderscheinungen gepflasterten Weg dorthin bewegt sich die Erzählung zwischen Realität und Virtualität, Fakten und Fiktionen, kritisiert epistemologische und institutionelle Vorgaben und testet die Grenzen der Geschlechter im neu entstehenden Feld von Wissenschaft und Literatur. Summary: Science With a Difference: Parody and Paradise in Margaret Cavendish's The Blazing World (1666). Margaret Cavendish's The Blazing World (1666) is one of the very few utopian accounts by women in the early modern period. At first sight, the world beyond the North Pole that Cavendish's beautiful heroine enters after surviving abduction and shipwreck seems to offer the utmost in terms of early modern feminine scientific utopias: after the shortest love story in history, the heroine becomes Empress and is given a whole Empire to govern at her pleasure. But soon it turns out that the hybrid creatures of her newly founded scientific communities, bear‐men, bird‐men, worm‐men, and the like are far from utopian truth‐seeking, but, like their earthly counterparts, all too often revel in tedious meaning and believing. The paper will focus on such parodic moments as well as on alternative modes of dealing with science more adequate to the term Paradise. Only with the support of her this‐worldly friend, the Duchess of Newcastle, who also happens to be the author of the story, the Empress can not only improve her utopian state, but also the state of affairs in the real world. On the way, the boundaries between fact and fiction, real and virtual, masculine and feminine, sense and nonsense are continuously tested – reflecting and commenting on early modern fear and fascination of the unknown and the promises of science and technology. (shrink)

Introduction: Laughter as an expression of human nature in the Middle Ages and the early modern period: literary, historical, theological, philosophical, and psychological reflections -- Judith Hagen. Laughter in Procopius's wars -- Livnat Holtzman. "Does God really laugh?": appropriate and inappropriate descriptions of God in Islamic traditionalist theology -- Daniel F. Pigg. Laughter in Beowulf: ambiguity, ambivalence, and group identity formation -- Mark Burde. The parodia sacra problem and medieval comic studies -- Olga V. Trokhimenko. Women's laughter and gender politics (...) in medieval conduct discourse -- Madelon Köhler-Busch. Pushing decorum: uneasy laughter in Heinrich von Dem Türlîn's Diu crône -- Connie L. Scarborough. Laughter and the comic in a religious text -- John Sewell. The son rebelled and so the father made man alone: ridicule and boundary maintenance in The Nizzahon vetus -- Birgit Wiedl. Laughing at the beast: the judensau: anti-Jewish propaganda and humor from the Middle Ages to the early modern period -- Fabian Alfie. Yes . . . but was it funny? Cecco Angiolieri, Rustico Filippi and Giovanni Boccaccio -- Nicolino Applauso. Curses and laughter in medieval Italian comic poetry -- Feargal Béarra. Tromdhámh guaire: a context for laughter and audience in early modern Ireland -- Jean E. Jost. Humorous transgression in the non-conformist fabliaux: a Bakhtinian analysis of three comic tales -- Gretchen Mieszkowski. Chaucerian comedy: Troilus and Criseyde -- Sarah Gordon. Laughing and eating in the fabliaux -- Christine Bousquet-Labouérie. Laughter and medieval stalls -- Scott L. Taylor. Esoteric humor and the incommensurability of laughter -- Jean N. Goodrich. The function of laughter in The second shepherds' play -- Albrecht Classen. Laughing in late-medieval verse and prose narratives -- Rosa Alvarez perez. The workings of desire: Panurge and the dogs -- Elizabeth Chesney Zegura. Laughing out loud in the Heptaméron: a reassessment of Marguerite de Navarre's ambivalent humor -- Lia B. Ross. You had to be there: the elusive humor of the Sottie -- Kyle Diroberto. Sacred parody in Robert Greene's Groatsworth of wit -- Martha Moffitt Peacock. The comedy of the shrew: theorizing humor in early modern Netherlandish art -- Jessica Tvordi. The comic personas of Milton's Prolusion VI: negotiating masculine identity through self-directed humor -- John Alexander. Ridentum dicere verum (using laughter to speak the truth): laughter and the language of the early modern clown "pickelhering" in German literature of the late seventeenth century (1675-1700) -- Thomas Willard. Andreae's ludibrium: Menippean satire in The chymische hochzeit -- Diane Rudall. The comic power of illusion-allusion -- Allison P. Coudert. Laughing at credulity and superstition in the long eighteenth century. (shrink)

Cross-dressing, as a cultural practice, suggests gender ambiguity and allows freedom of self expression. Yet, it may also serve to reaffirm ideological stereotypes and the binary distinctions between male and female, masculine and feminine, homosexual and heterosexual. To explore the nature and function of cross-dressing in Chinese and Western cultures, this paper analyzes the portrayals of cross-dressing heroines in two Chinese stories: The Ballad of Mulan, and The Butterfly Lovers. Distorted representations in the English translated texts are also explored..

This unorthodox volume of related literary-philosophical essays is sure to ruffle a few feathers by making merry with the styles of philosophy fashionable today, and in each of the last four decades. Beginning with a strictly formalistic treatment of the relationship of perfection of form to truth of content in literature, Watson (author of the widely reviewed work, The Philosopher's Diet) comes full circle to a concluding essay in which the content of life is unraveled as a pig's meaningless (...) "tale." In between, the reader is taken on a Cook's Tour of hopping and skipping, meaning, seducing, dying, and dreaming in such alluring essays as "The Seducer and the Seduced," "Ape Dreams," and "A Pig's Tail." The chapters focus on one or more fundamental arguments so dear to philosophers of many stripes, but are written with an attention to style not found in conventional philosophy. Writing in a discipline for which a robust sense of humor applied to the pursuit of "serious" philosophy is apt to mean professional oblivion, Watson aims his wittiest salvos at the Dogmatic and Edifying Intent of popular philosophical objectives. He highlights the stylistic conceits and ambiguity that often turn quite ordinary statements into ponderous pendantics. Are these pieces parodies or not? Does Watson really hold the positions he sets forth, or is he making lighthearted fun? Yes! The Philosopher's Joke will amuse and delight, frustrate and annoy, but above all, it will make readers think. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Genres in Dialogue: Plato and the Construct of PhilosophyDavid EngelAndrea Wilson Nightingale. Genres in Dialogue: Plato and the Construct of Philosophy. Cambridge: Cambridge University Press, 1995. xiv + 222 pp. Cloth, $57.95.The old saw "Everybody's a comedian" has its counterpart in contemporary academia: "Everybody's a philosopher." Biologists. Psychologists. Linguists. Physicists. Anthropologists. Historians. Even jurists. Many scholars of comparative literature, English, and history can be heard describing what (...) they do, not as literary criticism or history, but as "philosophy." One may even wonder whether we need philosophy departments anymore. Philosophy's private domain has shrunk from what it was under Aristotle (just about every subject short of wagon repair) to its present emaciated condition: it can claim almost nothing for itself alone. The other disciplines have encroached upon it bit by bit. This book is a timely contribution to an important current issue: what is philosophy, [End Page 316] and what does it have to offer? Nightingale argues that Plato faced similar questions. Rhetoricians, tragedians, and comedians all peddled what they had to say as wise (sophon), while dismissing other claims and pursuits as foolishness or worse. Against them and their respective discourses Plato proposed a new candidate: philosophia.Prior to Plato, philosophia meant just "intellectual cultivation." According to Nightingale, it was Plato who made it into a full-blown discipline--or, as she says, invented the discourse. As a way of privileging philosophia (in Plato's new sense of the word) above rival discourses, he parodied them. Nightingale's claims about the parody of other genres and Plato's privileging of philosophia are novel, insightful, and very persuasive. Perhaps it is overstatement to credit Plato with inventing philosophy, but that hardly diminishes the overall impression of this fine book's main arguments.Among Plato's contemporaries, the foremost challenger for the title "practitioner (and teacher) of sophia" was Isocrates. Nightingale uses his Antidosis to show that (1) Isocrates wanted to claim philosophia for himself, and (2) his version of philosophia was significantly different from Plato's. She concludes that the term was still a subject of genuine contention: its meaning mattered to both Plato and Isocrates. As Isocrates advocates rhetorike as philosophia, Plato argues that philosophy is both different from rhetoric and better than rhetoric. Rhetoric aims, ultimately, at public utility as the public perceives that utility, and rhetoric's value is gauged only by the political influence of those who practice it. Plato rejects that entire value system. At bottom it is also the value system of the other genres which, as Nightingale persuasively shows, Plato also parodies.Plato's "parody" (Nightingale's use of the word is broad, but unexceptionable) is "a device for defining and privileging his own pursuits" (59). Moving from rhetoric to tragedy, she considers Gorgias' echoes of Euripides' Antiope. Plato's parody of tragedy subtly criticizes tragedy qua discourse. The tragedian is "ignorant of truth... imitating appearances... gratifying the multitude... fostering the inferior part of the soul," that is, he is precisely what the philosopher is not (67). Socrates and Callicles evoke Euripidean characters: respectively, Amphion (who advocates a private life devoted to the liberal arts) and Zethus (who argues for a life of political activity) (69-70). Plato's unambiguous allusions to Antiope juxtapose not only Socrates and Callicles (and, through them, two irreconcilable views of what philosophy is) but also the tragic hero and the philosophical one (72-73). Plato's "life of the mind for its own sake" orientation wins, ultimately, in both comparisons. Furthermore, just as Amphion's arguments fail to persuade Zethus in Antiope but are eventually vindicated by Hermes' appearance at the play's conclusion, so too Socrates' arguments fail to convince Callicles, and Gorgias' concluding underworld myth parallels Antiope's deus ex machina: affirmation that the view which had been rejected (Amphion's and Socrates') was right, after all (87-88). [End Page 317]Nightingale then examines encomium. Publicly performed epitaphioi and their fictive counterparts (e.g., Menexenus) influenced one another, and the techniques of the encomium, although salient in that genre, occurred elsewhere, including deliberative and forensic situations. In her view, Plato's concern is not narrowly with encomium... (shrink)

PART ONE THE "FOUR IN PARADISE" ANTI-EPICUREAN STEREOTYPE, BIOGRAPHY, AND PARODY Scholarship on Epicureanism, always lively and abundant, ...

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ovid’s Literary Loves: Influence and Innovation in the AmoresBetty Rose NagleBarbara Weiden Boyd. Ovid’s Literary Loves: Influence and Innovation in the Amores. Ann Arbor: University of Michigan Press, 1997. xii 1 252 pp. Cloth, $39.50.The “literary love affair” (130) in the Amores is as much (or more) an affair conducted with literature as it is one represented in literature. Although Barbara Boyd never puts it that (...) way, this is the essence of her argument. In her reading, this three-book collection of amatory elegies is the narrative of Ovid’s early career as a poet. This novel use of the genre—for literary autobiography—is one of the ways in which Ovid expands its boundaries. In Ovid’s Literary Loves Boyd intends to help readers appreciate the originality of the Amores, in part by showing in it the beginnings of that interest in redefining generic boundaries which in the past decade we have come to recognize, through the work of Stephen Hinds and others, as a hallmark of Ovid’s whole corpus.In her introduction, “The Isolation of Ovid’s Amores,” Boyd digests and assesses the current opinion about Ovid’s collection. Its “literary isolation” has resulted from the combined effects of the “generic fallacy” and what she calls the “progressive fallacy.” The latter (her own coinage) is the critical position which holds either that “what comes first is worst” or that “what comes last is worst” (5); accordingly, the Amores are early Ovid and hence inferior, and Ovid is the last of the elegists and hence inferior. As an antidote to the “generic fallacy” Boyd proposes James Zetzel’s “challenge of generic freedom,” itself the latest variation of Kroll’s “Kreuzung der Gattungen.” [End Page 468]Chapter 1, “Reused Language: Genre and Influence in the Interpretation of the Amores,” takes its point of departure from a comparison of the two propemptica Am. 2.11 and Propertius 1.8a. Boyd sets out “both to simplify and to clarify a method for reading imitation in the Amores” (19), and in doing so she makes a substantial contribution to the typology of imitation in Latin literature as a whole. She does this by bringing together two unlikely bedfellows, integrating G. P. Goold’s ideas about Ovid’s “formulae” and “instinctive” versification with G. B. Conte’s concepts of “poetic memory” and poetic language as “reused language.” She also employs Conte’s distinction between “exemplary model” (verbatim imitation) and “code model” (the system of generic rules familiar beforehand) and Richard Thomas’s preference for the term “reference” instead of “imitation.” For her purposes she distinguishes (30–31) between a “parallel,” which may “simply be a common topos” (30) rather than an actual imitation; a “formula,” which may be “a very precise mark of a poetic tradition” (30) without making a specific reference; and a “reference,” which is likely to engage with a whole tradition rather than simply allude to a single source. Finally, she distinguishes (47) “external allusion” (to another poet) from “self-imitation,” which in turn is differentiated into “’internal reference’ proper” (to an earlier poem in the same collection) and “self-imitation” (“reference across works”). These latter may well be, as she claims, “two different, though related, phenomena” (47), but “self-imitation” is not relevant to Boyd’s own discussion until her last chapter. In posing the question “How do we recognize ‘imitation’?” she distinguishes between imitation of “form and theme” (33) and imitation of “content” (34), using the latter term rather idiosyncratically to include “precise features, such as style, diction, and metrical character” (34).Chapter 2, “Literary Means and Ends: Ovid’s Ludus Poeticus,” continues the treatment of imitation in considering Ovid’s practice of “multiple allusion” (67, 89), according to Boyd “an aspect of his style that is far too little recognized and understood” (67). The goal is to clarify how Ovid views his literary past and what meaning his sources have for his use of them—in brief, as she neatly summarizes, “to move beyond equating Ovid’s inspiration and purpose with Propertius and parody, respectively” (50). She shows how in creating Sulmo as a literary landscape (Am. 2.16... (shrink)

This paper treats a question which first arose in these Proceedings: Can Anselm's ontological argument be inverted so as to yield parallel proofs for the existence (or non-existence) of a least (or worst) conceivable being? Such 'devil parodies' strike some commentators as innocuous curiosities, or redundant challenges which are no more troubling than other parodies found in the literature (e.g., Gaunilo's Island). I take issue with both of these allegations; devil parodies, I argue, have the potential to pose substantive, (...) and novel, challenges to Anselm's ontological argument. (shrink)

Terry Pratchett's writing celebrates the possibilities opened up by inventiveness and imagination. It constructs an ethical stance that values informed and self-aware choices, knowledge of the world in which one makes those choices, the importance of play and humor in crafting a compassionate worldview, and acts of continuous self-examination and creation. This collection of essays uses inventiveness and creation as a thematic core to combine normally disparate themes, such as science fiction studies, the effect of collaborative writing and shared authorship, (...) steampunk aesthetics, productive modes of "ownership," intertextuality, neomedievalism and colonialism, adaptations into other media, linguistics and rhetorics, and coming of age as an act of free will. In all Pratchett's constructed worlds and narratives-from Discworld, to the science-fictional flat planet of Strata, from a parody of Conan the Barbarian's Cimmeria to the comedically apocalyptic Good Omens-questions of identity, community, and the relations between self and other are constantly examined, debated, and reshaped. Pratchett's worlds thus become ethical worlds: fantasies in which language always matters, stories resonate with the past and the future, and choices emphasize the importance of compassion and creation. (shrink)

Expectation is a major volume of Jean-Luc Nancy’s writings on literature, written across three decades but, for the most part, previously unavailable in English. More substantial than literary criticism, these essays collectively negotiate literature’s relation to philosophy. Nancy pursues such questions as literature’s claims to truth, the status of narrative, the relation of poetry and prose, and the unity of a book or of a text, and he addresses a number of major European writers, including Dante, Sterne, (...) Rousseau, Hölderlin, Proust, Joyce, and Blanchot. The final section offers a number of impressive pieces by Nancy that completely merge his concerns for philosophy and literature and philosophy-as-literature. These include a lengthy parody of Valéry’s “La Jeune Parque,” several original poems by Nancy, and a beautiful prose-poetic discourse on an installation by Italian artist Claudio Parmiggiani that incorporates the Faust theme. Opening with a substantial Introduction by Jean-Michel Rabaté that elaborates Nancy’s importance as a literary thinker, this book constitutes the most substantial statement to date by one of today’s leading philosophers on a discipline that has been central to his work across his career. (shrink)

The essays in this 1987 volume are concerned with ideas of contrarity and other kinds of polar opposition in French literature of the eighteenth century. Originally these ideas were merely part of an impulse to undermine the establishment, but as the century progressed the desire to invert social values and question accepted norms merged with the main groundswell of the age to form part of the movement of Revolution. Professor Rex considers some of the major writers of the period: (...) Diderot, Rousseau, Voltaire, and Beaumarchais. He also explores minor genres such as opéras comiques, theatrical parodies, and erotic or pornographic pieces; these have been largely forgotten, but in their time they imbued the creative life of the era with vitality. In treating the literature in relation to the other arts, especially painting and music, these essays will be of interest to scholars of all aspects of eighteenth-century French culture. (shrink)

The "Kinsey Report" suggests the existence of such a mentality. Of 142 women with much homosexual experience, 70 percent reported no regrets. This consciousness has manifested itself in literature in two ways. First, in lesbian romanticism: fusions of life and death, happiness and woe, natural imagery and supernatural strivings, neoclassical paganism with a ritualistic cult of Sappho, and modern beliefs in evolutionary progress with a cult of the rebel. At its worst an inadvertent parody of fin de siecle (...) decadence, at its best lesbian romanticism ruthlessly rejects a stifling dominant culture and asserts the value of psychological autonomy, women, art, and a European civilization of the sensuous, sensual, and voluptuous. Woolf's Orlando is its most elegant and inventive text, but its symbol is probably the career of Natalie Barney, the cosmopolitan American who was the prototype of Valerie Seymour.23· 23. See Rubin, introduction to Vivien's A Woman Appeared to Me, and George Wickes, The Amazon of Letters: The Life and Loves of Natalie Barney .Catherine R. Stimpson, professor of English at Rutgers University, is the former editor of Signs: Journal of Women in Culture and Society. The author of both critical essays and fiction, she recently co-edited, with Ethel Spector Person, Women, Sex and Sexuality. (shrink)

Zechariah Aldāhirī's maqāma collection, Sefer hamusar , is a literary work modeled on the Arabic Maqāmāt of al-Harīrī and the Hebrew Tahkemoni of Alharizi. Although largely fictional in nature, the work offers intriguing evidence of the transmission of kabbalistic thought to Yemen in the sixteenth century. This paper argues that Aldāhirī exploited the text's lighthearted belletristic framework to bring kabbalistic theosophy, literature, and liturgical customs to the attention of a largely uninitiated public in Yemen. But Aldāhirī also conveys an (...) ambivalence towards his project when he parodies the new taste for kabbalistic learning by embedding mystical ideas in complex narratives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:MASCULINITY AS VIRILITY IN TAHAR BEN JELLOUN'S WORK Lahoucine Ouzgane University ofAlberta To be a woman is a natural infirmity and every woman gets used to it. To be a man is an illusion, an act of violence that requires no justification. (Ben Jelloun, The Sand Child, 70) Inthe last ten to fifteen years, scholarly attention to gender issues in.the Middle East and North Africa has been focused almost (...) exclusively, sometimes obsessively,1 on a quest to understand femininity: what it is and how it is made and regulated—with Muslim women's oppression, the everlasting question of the veil, and the practice of female genital mutilation receiving most of the scrutiny.2 But while this attention—by female and male scholars—to the Muslim woman is indeed a salutary one,3 masculinity in Islamic cultures has so far remained an 1 An international conference on Contemporary Issues in Islamic Studies (to be held in Virginia in November 1996) is soliciting papers in these categories: 1) Islamic Law: Theory and Practice; 2) Fundamentalism; 3) Women in Islam. 2As a parody ofthis preoccupation, Fedwa Malti-Douglas writes: "The Arab woman is a most fascinating creature. Is she veiled? Is she not veiled? Is she oppressed? Is she not oppressed? Were her rights greater before Islam? Are her rights greater after Islam? Does she have a voice? Does she not have a voice?" (3) 3 Some ofthe most significant literature on this subject includes LeilaAhmed's Women and Gender in Islam (1992), a study of the development of Islamic discourses on women and gender from the ancientworld to the present, Mamia Lazreg's The Eloquence ofSilence (1994), a detailed analysis ofthe gender relations in Algeria from the precolonial era to the present; The Veil and the Male Elite (more commonly known in French as Le Harempolitique, 1987) by 2 Lahoucine Ouzgane unrecognized and an unacknowledged category that secures its power by refusing to identify itself. There are as yet no studies that make Muslim men visible as gendered subjects and that show that masculinity (like femininity) has a history and clear defining characteristics that are incomprehensible apart from the totality of gender relations in Islamic cultures. In this essay, I wish to consider masculinity as it is depicted in some ofTahar Ben Jelloun's major fiction. With more than twenty novels, two plays, and three poetry collections produced in the last thirty years, Ben Jelloun is undoubtedly the most prolific contemporary francophone North African writer. Though he had earned several important literary awards before, his rise to literary and public prominence began when he became the first African Arab writer to be awarded Le Prix Goncourt, France's most prestigious literary prize, for his novel La nuit sacrée published in 1987. Ever since, some of his works have been translated into fifteen languages (Daoud 62) and The SacredNight has recently been made into a film. Some critics have even begun to refer to Ben Jelloun as a future Nobel Prize candidate (Ndiaye 48). I will argue that in a world where the social has taken precedence over the religious, in a world where transcendence has given way to what René Girard describes as "mimetic rivalry,"4 Ben Jelloun's characters are unable to know love as an "experience of transcendence" (Gans). As a consequence they inevitably reduce masculinity to virility, a fragile attribute sustained only through repeated acts of violence. It is indeed possible to read masculinity in such a setting as a set of distinctive practices which emerge from men's positioning within a variety of social structures. In short, masculinity in Ben Jelloun's fiction is perhaps best Fatima Mernissi, an indictment of the way in which numerous Hadiths (or sayings by the prophet) have been manipulated by a male elite to maintain male privileges; Fatna Sabbah's Woman in theMuslim Unconscious(1984), a critique ofthe seemingly contradictory messages which the Islamic legal and erotic discourses imprint on the female body; and Fedwa Malti-Douglas' Woman's Body, Woman's Word (1991), a mapping out of the relationship of woman's voice in Arabo-Islamic discourse to sexuality and the body. 4Central to Girard's thought is... (shrink)

There is no fragment of the older Attic Comedy that concerns Greek religion so intimately as this, and none which has been so misinterpreted. It may also claim to have a certain value for our literary judgment of Plato. The story of Phaon is preserved for us by three authorities, Aelian, Palaiphatos, and Servius; and with few variations and additions all three present it as follows: Phaon was an elderly Lesbian ferryman who transported Aphrodite, disguised as an old woman, across (...) the sea; and she in reward gave him a magic ointment which restored his youth and ensured him the desperate love of all women. I am not concerned here with the handling of the story in other literature, nor with its original significance. We may suspect that it originated as a ίερòς λόγος. But it is presented to us merely as a piece of folklore, as a theme well suited to the temper of the Middle Attic Comedy. We may suppose that Plato followed a version known to Kratinos, according to which Aphrodite was the chief lover of Phaon and jealous of guarding him against her rivals. For it is certain, as Meineke has pointed out, that it is Aphrodite who delivers the speech contained in this fragment; in line seven she demands a preliminary sacrifice to herself, under the name κουροτρόος Only a divinity can demand sacrifice, and κουροτρόο;ος is a familiar epithet of many deities including Aphrodite, and she is the only deity possible in this scene, in which she is trying to keep off the ardent crowd of women from her beloved Phaon, by insisting on long and complicated preliminary rites and sacrifices before their admission to her shrine, where she is keeping him, as she once kept Kinyras. (shrink)

The revival of the optative by authors of the Second Sophistic is the most striking example of their endeavour to return to Attic usage. Criticisms of it are generally of two kinds: first, that the optative was not current in the spoken language of the period, and secondly, that having reintroduced the optative they used it incorrectly. The first of these faults, if it is a fault, only carries farther the normal tendency of artistic writers to archaism; for all (...) class='Hi'>literature goes to some extent by precedent, and it is natural for its admirers to regard changes in the language with suspicion. Lucian has received a full share of harsh words for his use of the optative, and it is true that by Attic standards there are mistakes. It is, however, hazardous to generalize too freely about the language of so versatile a writer, especially in view of his penchant for parody, and it will be more convenient to consider one particular construction. (shrink)

In Jackie Kay's award-winning novel, Trumpet (1998), the main character Joss Moody, a celebrated jazz trumpet player, is discovered upon his death to be anatomically female. The essay traces both postmodern and humanist affirmations of constructions of self-hood. Situating Virginia Woolf's version of a metaphysical and escapist androgyny as one kind of aesthetic against the material politics of the transgendered subject, the essay argues that Kay's novel can be seen as part of a 20th century tradition of literature and (...) film which satirizes, parodies and painfully exposes the discontinuities of dominant sex–gender systems. The essay ends by arguing that Kay also develops these systems by imbricating sex and gender within a series of dislocated familial, sexual and racial identities, beginning with the arrival of Joss's African father in Scotland at the beginning of the 20th century. (shrink)

Shocking, brilliant, and eccentric, the French author, translator, and artist Pierre Klossowski (1905-2001) exerted a profound effect on French intellectual culture throughout the twentieth century. The older brother of the painter Balthus, secretary to the novelist Andre Gide, friend to Geroges Bataille and Maurice Blanchot, and heralded as one of the most important voices in the French "return to Nietzsche" by Michel Foucault and Gilles Deleuze, Klossowski pursued his singular vision of mortal embodiment through a variety of scholarly manifestations. In (...) Such a Deathly Desire, Klossowski's original interpretation of Nietzsche's eternal return is developed around the enigmatic figure of the "demon," then deepened with provocative readings of Gide's correspondence; Barbey d'Aurevilly's novel A Married Proest; and the intertwining of language and death in the work of Bataille, Blanchot, and Brice Parain. The book concludes with the powerful essay "Nietzsche, Polytheism, and Parody," in which Klossowski articulates the consequences of the eternal return and the meaning of Nietzsche's genealogy of the fabulation of the world. Intersecting with and confounding a range of disciplines - including psychoanalysis, literary criticism, gender studies, and philosophy - Klossowski's critical writings on language, literature, and the aesthetics of embodiment remain powerful and original contributions to contemporary concerns in the theoretical humanities. (shrink)

This article is a reply to an earlier piece by kenneth seeskin (philosophy and literature, 1982). I argue that socrates' defense is more of a parody of gorgian rhetoric than seeskin is willing to allow. They key lies in socrates' use of rhetoric to persuade the beliefs of the athenian jurors by means of probabilities. When replying to the expressed pretexts of the trial, He uses "base" rhetoric; when finally attending to the real reasons behind his accusations, He (...) resorts to "the truth about his life.". (shrink)

Not many studies have focused on the analysis of the rhetorical organization of a genre and the respective frequency of occurrence of moves and steps as they occur in a corpus across disciplines – particularly, with a complementary qualitative-quantitative approach. This article aims to become a step in helping to fill this gap in research on Spanish. In this way, the textbook genre, the occurrence of its rhetorical macro-moves, moves and steps and disciplinarity are the central focus of this study. (...) More specifically, in this article we seek to determine and to compare the frequency of occurrence of macro-moves, moves and steps in a corpus of 126 university textbooks across the academic discourse of four disciplines. We distinguish the major areas of knowledge as well as the specific disciplines. The main findings show there are differences between the occurrence of some discourse moves and steps across the texts of disciplines under study, which reveals a distinctive feature in the didactic component of textbooks. So we can infer that knowledge construction process through this genre is not carried out in the same way and that disciplinarity plays an important role in the diversifying organizational discourse patterns detected. (shrink)

Una riflessione, talvolta discutibile, su un problema centrale nello studio della storia, sul modo cioè di comprendere la sensibilità di uomini del passato, cercando di accostarla alla sensibilità di uomini nostri contemporanei. Si considera, come caso esemplare e particolarmente difficile, la riflessione di Agostino sul tema della grazia e della predestinazione. Ogni trasposizione di dottrine anche lungo la linea del tempo storico è certamente un tradimento delle intenzioni originali dell’autore, ma un tradimento necessario per sperare di capirlo. L’intreccio di tesi (...) su predestinazione, grazia, destino e carattere può aiutare, ma solo a condizione di essere consapevoli che si tratta comunque di analogie che mai riescono a chiarire completamente, ma possono aiutare. A reflection, sometimes questionable, on a central problem in the study of history, that is, on how to understand the sensibility of men of the past, trying to approach it to the sensibility of our contemporary men. We investigate, as an exemplary and particularly difficult case, Augustine's reflection on the subject of grace and predestination. Any transposition of doctrines even along the historical timeline is certainly a betrayal of the author's original intentions, but a necessary betrayal to hope to understand him. The interweaving of theses on predestination, grace, destiny, and character can help, but only on the condition of being aware that these are nevertheless analogies that never succeed in fully clarifying, but can help. (shrink)

The article is an attempt to outline a long-neglected issue and relate a general category, usually placed outside the achievements of “traditional” art, to stricte literary phenomena. The first chapter, Na tropach kiczu (On the trail of trash), concentrates on establishing the range of meaning of the term discussed. It is not aimed at constructing an unambiguous definition but at producing a brief outline of the complex character of the issue. The author does not limit herself to a negative understanding (...) of the phenomenon, but also emphasizes its multi-aspect presence in widely termed culture. The second chapter, О kiczu literaturze (On trash in literature), deals with the general ways in which the phenomenon functions and the ways of revealing the phenomenon in literary works and discusses various manifestations of the problem in particular texts. It presents instances of plain trash as well as pieces of writing where trash appears at the level of the world presented and where it is often subject to all sorts of tricks and many kinds of mystification. Chapter third, entitled Kicz opisany i sparodiowany: proza Manueli Gretkowskiej (Trash described and parodied: the prose by Manuela Gretkowska), is directly connected with the issues raised in the title of the article. The subjecl of this part of the publication is the literary output of this contemporary Polish writer, particularly her first three novels: My zdies' emigranty [1992], Tarot paryski (The Paris Tarot) [1993] and Kabaret Metafizyczny (Metaphysical Cabaret) [1994]. However, the aim of this chapter is not to characterize the novels but to comprehensively present the issue of trash in actual practice; that is, to give examples of the problems briefly discussed above. In the prose trash manifests itself at various levels of meaning and is subject to parody, the aim of which is not only to discredit or mock the phenomenon, but also to reach its essence and reveal its unique mechanisms. In the texts discussed here trash seems to lead to parody and parody to trash, which means that both the categories are closely and inseparably linked with each other. This is especially visible at the level of the strategy of reception, which is part ol the novels. The issue is discussed in the fourth chapter, entitled Gdzie jest czytelnik, gdy go nie ma? Strategia odbioru według Manuell Gretkowskiej (Where is the reader when there is no reader? The strategy of reception by Manuela Gretkowska). The last chapter, with the title Wokół postmodernizmu (On postmodernism), is an attempt to summarize the above issues and place them in a wider context. It presents the three novels against a background of the achievements of contemporary literature and art, which are usually regarded as postmodernist, makes them part of aesthetics, using a specific sort of style called camp-art by Susan Sontag, which consists in deliberate staggering on the borderland between bad and good tastes, an apotheosis of exaggeration as well as exhibiting trash perceived as a cultural element, a symptom of “new sensitivity” and an absolutely ambiguous phenomenon. (shrink)

This book is a unique contribution to the philosophy of religion. It offers a comprehensive discussion of one of the most famous arguments for the existence of God: the ontological argument. The author provides and analyses a critical taxonomy of those versions of the argument that have been advanced in recent philosophical literature, as well as of those historically important versions found in the work of St Anselm, Descartes, Leibniz, Hegel and others. A central thesis of the book is (...) that ontological arguments have no value in the debate between theists and atheists. There is a detailed review of the literature on the topic (separated from the main body of the text) and a very substantial bibliography, making this volume an indispensable resource for philosophers of religion and others interested in religious studies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Genres in Dialogue: Plato and the Construct of PhilosophyAnthony J. CascardiGenres in Dialogue: Plato and the Construct of Philosophy, by Andrea Wilson Nightingale; xiv & 222 pp. Cambridge: Cambridge University Press, 1996, $49.95 paper.That what we call “philosophy” may be a construct, contingent upon its social and historical circumstances and dependent upon its discursive elaboration in texts that have come to be accepted as authoritative, is a possibility (...) that seems increasingly plausible at the end of the twentieth century. To judge from recent debates over the “end of philosophy” there are few outside the discipline proper who would accept the procedures by which philosophy came to legitimize itself as an autonomous discourse. Philosophy as we know it now seems to be one discourse among many others equal to it, and its associated values (e.g., truth, authenticity, virtue) seem hard pressed to maintain their preeminence when faced with claims that there is no scale according to which all values can be ranked. In the tradition of Plato, Descartes, and Kant, however, philosophical values were bound up with the identity of philosophy as an autonomous discourse. Here, the disciplinary identity of philosophy was dependent upon the “purification” of its discourse: the separation of what is “philosophical” from what is not allowed philosophy to conduct its pursuit of wisdom above the flux of contingent events.How should we understand and evaluate twentieth-century claims about the contingency of philosophical discourse? The question may be approached in divergent ways. One, articulated from inside the discipline of philosophy, seeks to press on with the project of Plato, Descartes, and Kant in order to isolate and refine the language that is most transparent to the truth. According to this view, the claim that philosophy is constructed would be mistaken or confused, and in any case not a philosophical claim at all. Another approach, articulated from outside the discipline of philosophy proper, would be to map the discursive construction of philosophy in terms of the “ideological” interests at work in the very process of that construction, keeping in mind that what is “ideological” is always fashioned in some discursive way. While each of these approaches has something to recommend it, each is insufficient. Typically, the project of “purification” fails to reflect sufficiently upon the contingency of the discourse it aims to refine, while the project of ideology-critique typically fails to recognize its own implicit appeal to some notion of truth or authenticity—or, at the very least, of truths pursued in earnest and communicated intelligibly.Andrea Nightingale’s fine book on Plato and the “construct” of philosophy is everywhere responsive to the contingency of philosophical discourse. Nightingale deals with this contingency by inspecting Plato’s strategies through a lens that is at once social, historical, and discursive. Genres in Dialogue is likewise aware of the claims that Plato makes on behalf of the values of “truth” and “authenticity.” But Nightingale’s strategy is to deflect (philosophical?) questions about truth and authenticity in favor of an analysis that focuses on Plato’s [End Page 527] role in the inaugural configuration of what we have come to recognize and accept as philosophical discourse. Rather than concentrate on the later, ideological appropriation of philosophy in the West, Nightingale sets her sights on philosophy’s inaugural moment, when debates about truth and authenticity were first configured in relation to the question of different modes of speech, some of which attempted to assert their primacy over all others. On Nightingale’s very provocative account, philosophy is not something that became contingent with the passage of time; it was from the very start a discursive construct.Nightingale argues that procedures of this construction, evidenced principally in Plato’s dialogues, were unique. While recognizing that the Platonic dialogues were the staging ground for the rivalries between philosophy on the one hand and rhetoric and poetry on the other, her more important claim is that Plato incorporated a panoply of discursive genres into his texts, always in order to parody, subvert, or otherwise challenge their authority, the better to establish the primacy of philosophy as a discursive practice. What philosophy itself is goes largely unanswered by Plato. Instead... (shrink)

John Henderson focuses on three key Letters visiting three Roman villas, and reveals their meaning as designs for contrasting lives. Seneca brings the philosophical epistle to Latin literature, creating models for moralizing which feature self-criticism, parody, and animated revision of myth. The Stoic moralist wrests writing away from Greek gurus and texts, and recasts it into critical thinking in Latin terms, within a Roman context. The Letters embody critical thinking on metaphor and translation, self-transformation and cultural tradition.

This article identifies and describes the rhetorical organization of the Textbook genre, based on a corpus-based approach and on part of PUCV-2006 Corpus of Academic Spanish. This subcorpus includes 126 textbooks collected from four scientific disciplines at undergraduate university programmes: Social Work, Psychology, Construction Engineering and Industrial Chemistry. In order to fulfil the goals, the article determines and describes the communicative purposes of each of the moves and steps identified, and gives examples from the four disciplinary domains. A new macro-level (...) to fully account for the analysis is introduced and justified, which turned out to be essential for a better description of an extensive textual unit as these texts are. This is named as macro-move. The main findings reveal a well-organized organization directed towards educational instruction. The genre fundamental nucleus is formed by the macro-move Conceptualization and Exercising, which is repeated as many times as the contents are displayed. By the end of the article, the question appearing in the title is answered and arguments are offered to explain why the genre’s rhetorical organization is described as a ‘colony-in-loops’. (shrink)

The works of Malaysian poet, Wong Phui Nam’s Against the Wilderness (vii) China bride and Variations on a Birthday Theme (iv) Kali , illustrate a bride and a mother in terrifying images. Wong’s stylistic form of representing the female body through startling images of inversion and degradation evoke feelings of unease. The suspension between the known and the unknown causes a bewildering reality verging on madness. Interpreted through the lens of the carnivalesque, specifically, the grotesque body, festive language and (...) class='Hi'>parody, I attempt to reconstruct the psyche of the Chinese migrant which underpins these poems. The migrant who arrived in Malaya during the colonial era in the early nineteenth century faced political and social struggles in adapting to a new land. In the poems, the migrant juxtaposes his position to a female and uses the female body as a site of contention to intensify the torment of the psyche and to reflect the despair of the Chinese in Malaysia. (shrink)

This article aims to revise the ethical and social implications for clinical biobanks and their application in Italy, in the Liguria Region and in a comprehensive cancer centre in Genoa. The policies already in place in the regional network and in the IST National Institute for Cancer Research in terms of involvement of the community of patients and citizens are described, as well as the future development of initiatives aimed at improving the active participation of the community. The author is (...) a biobank manager and not a professional bioethicist. The world of biobanks in Italy includes large numbers of small initiatives, and ‘biobankers’ are aware that public engagement is essential to ensure public trust and to give legitimacy to the research. The governance of these research infrastructures requires new tools in order to improve involvement of participants. The October 2011 Conference, ‘New Patient-Centric Perspectives in Medical Research: Ethical and Governance Challenges’ has been an important occasion for bringing together different experiences and expertise and for learning about new forms of participant-centric approaches and tools. (shrink)

Offers many fresh insights that will give even longtime readers of Shakespeare a new appreciation of the great master. Scholars have long debated the extent of Shakespeare's education. Although his friend and admirer Ben Jonson said of him, "thou hadst small Latine and lesse Greek," Shakespeare's plays reveal a wide familiarity with literary and philosophical works from the Renaissance, the Middle Ages, and the classical age. Philosopher Farhang Zabeeh delves into this fascinating topic in this detailed study of the philosophical (...) influences evident in Shakespeare's plays and sonnets. Readers will be surprised and delighted to discover in Shakespeare unmistakable echoes of Plato, Aristotle, Cicero, Dante, Montaigne, and other famous thinkers. In one chapter, the author makes a convincing case that one of the bard's most famous comic characters, John Falstaff, is a parody of Socrates. In other chapters, he demonstrates indirect references to Plato in Shakespearean passages concerning appearance versus reality, as well as the influence of Aristotle's ethics. Other common philosophical themes evident in the plays concern the nature of time, subjectivity versus objectivity, and political and moral values. (shrink)

During the past ten years, China’s micro film industry has made a rapid development aided by technological changes. Focusing on three types of micro films, this paper reveals some characteristics of China’s micro films within socialist cultural production with Chinese characteristics. This model departs from a past when the government managed everything during the Planned Economy, but is also different from the models of cultural policy in the West. The micro films examined are A Murder Case Triggered by a Steamed (...) Bun, a parody of film Wuji, market-conspiracy micro films such asImminent and The Only Choice, and social-welfare micro films likeI will give you happiness when I grow up. All of them bring forth the issue of coordination and harmonization of conflict between social-welfare and market efficiency. (shrink)

Shelley’s Swellfoot the Tyrant has recently begun to gain the concerted attention of critics, who have noted the play’s signature blend of low and high, of ephemeral, late Regency politics with the classic genres of Sophoclean tragedy, Aristophanic comedy, and mock epic. But Austin Warren’s famous and widely accepted definition of mock epic as “not mockery of the epic but elegantly affectionate homage, offered by a writer who finds [the serious epic] irrelevant to his age” does not describe Shelley’s earnest (...) goal of immediate political reform in authoring Swellfoot. Instead, the play evinces Shelley’s unique, conscious reconfiguration of four conventions characteristic of the high, classical epic: the “prosperous breeze”; the epic simile; katabasis or descent into the underworld; and divine intervention. I argue that Shelley’s comic adaptation of these epic conventions reflects his serious aim of helping effect reform through Swellfoot and embodies his absorption of the concept of Shakespeare’s history plays as an experimental hybrid of dramatic forms with epic subjects, gained during his earlier reading of A. W. Schlegel’s Lectures on Dramatic Art and Literature. Though the immediate suppression of Swellfoot prevented its relevance in its own historical moment, it comprises a singular hybrid of Aristophanic satire and Sophoclean tragedy with high epic conventions, while ironically also identifying Shelley as a proponent of the French neoclassical theory of the epic’s consciously didactic purpose propounded by Le Bossu. (shrink)

Borges pronuncia giudizi molto severi su Agostino, considerato soprattutto come il pensatore della grazia e della predestinazione. Il pensiero agostiniano viene irrigidito in formule che ne fanno il campione di un preteso realismo medievale. Ma Borges è più vicino di quanto non creda ad Agostino che in realtà sa perfettamente che un senso alla vita dell’uomo viene non dalla impossibile conquista della felicità, ma dalla sua incessante ricerca.

La mistica, come l’essere, si può dire in molti modi diversi e questi modi non possono essere presi in considerazione in maniera sistematica. Accostando autori non considerati mistici in senso proprio, si intende fornire qualche spunto di riflessione, mostrando come aspetti tradizionalmente considerati mistici, si possano trovare nei più diversi ambiti: scienza, filosofia, poesia, politica. Se questo livello del pensiero è indispensabile per non cedere alle pretese tiranniche della ragione analitica, è opportuno in ogni caso evitare di farne un mondo (...) a parte che si nutre della propria diversità e del proprio orgoglio. Mysticism, as well as being, can be said in many different ways and these ways cannot be taken into account in a systematic way. By comparing authors not considered mystical in the proper sense, we intend to provide some ideas for reflection, showing how aspects traditionally considered mystical can be found in the most diverse contexts: science, philosophy, poetry, politics. If this level of thought is indispensable in order not to submit to the tyrannical claims of analytical reason, it is necessary in any case to avoid making it a separate world that is nourished by its own diversity and pride. (shrink)