Emotion Review, Volume 14, Issue 1, Page 84-95, January 2022. Emotional stimuli such as images, words, or video clips are often used in studies researching emotion. New sets are continuously being published, creating an immense number of available sets and complicating the task for researchers who are looking for suitable stimuli. This paper presents the KAPODI-database of emotional stimuli sets that are freely available or available upon request. Over 45 aspects including over 25 key set characteristics have been extracted and (...) listed for each set. The database facilitates finding of and comparison between individual sets. It currently contains sets published between 1963 and 2020. A searchable online version allows users to select specific set characteristics and to find matching sets accordingly, as well as to add new published sets. (shrink)

Aspásia de Mileto (470?-400?) é uma figura cuja história nos é nebulosa e ao mesmo tempo muito clara. Nebulosa pois, como sugere Marta Andrade (2022, p. 24), trata-se de uma existência, como muitas outras, cuja memória a posteridade raramente se ocupou ou simplesmente esqueceu. Mas também clara pois Aspásia possui uma persona constituída no que chamamos de "tradição". A amante de Péricles. A professora de Sócrates. A esposa de Lísicles. Sua figura é frequentemente resgatada à sombra das figuras masculinas com (...) as quais se envolveu. Em grande medida porque as fontes que a resgatam trazem seu nome à margem, mas também em parte devido a uma postura metodológica que, por vezes, ignora nomes de mulheres. Neste artigo, viso recorrer às fontes para trazer à tona o protagonismo de Aspásia no que tange à educação e seu pioneirismo no pensamento retórico. Na primeira seção, desenvolverei uma breve biografia de Aspásia, sua possível influência política e suas habilidades pedagógicas. Na segunda seção, tratarei especialmente de suas contribuições para a retórica, abordando o discurso atribuído a si no Menêxeno de Platão e a Oração Fúnebre atribuída a Péricles por Tucídides. Por fim, na conclusão, diante das teses desenvolvidas, chegaremos a uma imagem mais digna de Aspásia, vislumbrando o retrato de uma mulher que dirige um elogio à coragem e cuja opinião incide diretamente em seu corpo social e político. Desse modo, compreenderemos melhor seus avanços nos âmbitos pedagógicos e retóricos, tidos como cruciais para o desenvolvimento dos cidadãos gregos. (shrink)

Na presente investigação, contrapondo o Sócrates de Platão com a figura de Sócrates que emerge a partir dos textos e da doxografia referente aos socráticos, apresento duas hipóteses sobre quem foi a mestra erótica de Sócrates. De um lado, a hipótese doxográfica geral dos socráticos que apontam Aspásia como sua mestra erótica, uma vez que Ésquines e Xenofonte, discípulos de Sócrates, bem como outros filósofos e doxógrafos posteriores à época clássica (Alciphron, Ateneu, Cícero, Filóstrato, Luciano, Máximo de Tiro, Plutarco, Sinésio, (...) Victorino), retratam Aspásia como a mestra de Sócrates nas artes eróticas. De outro lado, a inovação platônica que apresenta Diotima como a verdadeira guia erótica de Sócrates. Busco demonstrar a importância da sacerdotisa de Mantineia no Banquete, já que Diotima está associada diretamente a novidade platônica do éros filosófico. Na sequência, indico os possíveis motivos desse deslocamento (substituir Aspásia por Diotima como figura central do éros filosófico e guia erótica de Sócrates) realizado por Platão, com enfoque em como estes motivos vinculam-se a aspectos essenciais das novidades eróticas propostas por Platão. Por fim, questiono se esta estratégia platônica, que limita a sabedoria de Aspásia a só um dos assuntos pelos quais era conhecida (retórica), não seria mais uma das camuflagens que a filosofia fez com as heranças sofísticas, em especial, das feitiçarias retórico-eróticas aspasianas que influenciaram profundamente o socratismo. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Parody in Plato's MenexenusFranco V. TrivignoIn Plato's Menexenus, Socrates spends nearly the entire dialogue reciting an epitaphios logos, or funeral oration, that he claims was taught to him by Aspasia, Pericles' mistress. Three difficulties confront the interpreter of this dialogue. First, commentators have puzzled over how to understand the intention of Socrates' funeral oration (see Clavaud 1980, 17–77).1 Some insist that it is parodic, performing (...) an essentially critical function (e.g., Loraux 1986); while others claim that it is serious, in particular as an expression of Plato's political ideal (e.g., Kahn 1963).2 Adherents on both sides seem to think that the options are mutually exclusive.3 Second, commentators have had difficulty understanding why Plato would have Socrates attribute his entire oration to Aspasia (e.g., Coventry 1989, 3; Pownall 2004, 60). Most agree that this move is ironic and that it has something to do with the alleged target of the dialogue's criticism. But scholars have differed over whether the Aspasia reference is meant to implicate Pericles' funeral oration (Monoson 1998), rhetoric in general (Pownall 2004), Athens (Loraux 1986), or even Aeschines (Clavaud 1980).4 Third, scholars have struggled to make sense of the dialogue's "deliberate and fantastic anachronism" (Dodds 1990, 24). In the funeral oration, Socrates relates the history of Athens up to the King's Peace in 386 B.C., a full thirteen years after he has died. This problem has generated the least consensus, with some scholars restricting their analysis [End Page 29] to dating considerations (e.g., Dodds 1990) and at least one speculating that Socrates speaks in this dialogue as a ghost (Rosenstock 1994).5It is the contention of this article that, by understanding the rhetoric of parody in the Menexenus, one can resolve these difficulties and come to a coherent and unified understanding of the philosophical intentions of the dialogue.6 More specifically, I will show that the anachronism is a consequence of a particular parodic strategy, that of amplification; that the dialogue's parody targets not only Pericles' funeral oration in particular but funeral oratory, rhetoric, and Athens as well; and that the parody has serious philosophical implications.7 Further, I claim that the serious philosophical content is both critical and constructive. Plato subverts the civic identity and understanding of virtue encouraged by the genre of funeral oration, and he challenges its praise-based model of political discourse. At the same time, Plato's parodic criticism is not entirely negative, for it relies on alternative paradigms of civic identity, virtue, and political discourse.I. The Rhetoric of ParodyBefore turning to the Menexenus itself, I want to clarify what I mean by parody. For a working definition, I suggest that parody is "an imitation that distorts a target text, author, or genre."8 In order to make some general observations about the rhetoric of parody, I will look briefly at an exemplar of parody from Aristophanes' Frogs. I do so for three reasons: to display two strategies of parodic distortion, to show that parody can have multiple targets, and to argue that parody can have both serious and complex intentions.9In the Frogs (1331–63), Aristophanes uses at least two techniques of parodic distortion, inversion and amplification, in his extended parody of Euripides' monodies or single-actor odes.10 Parodic inversion, broadly speaking, upsets or overturns the target text by distorting the original in a way that reverses the stylistic effect or semantic intention. Parodic amplification hones in on one aspect of the target text and amplifies it to absurdity, often exposing its artificiality as a literary trope.The parodic scene features a woman who awakens, hysterical and terrified, from a god-sent dream, which has conveyed disturbing news. We find in this passage a particular kind of parodic inversion: bathos, the unexpected introduction of the vulgar, ordinary, or mundane, which undermines an otherwise somber tone.11 Consider the following excerpt:Attendants, set alight a lamp for me,Collect the dew of rivers in pitchers [End Page 30] And heat the water,So that I may wash away the god-sent dream.Oh god of the sea... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 294-298 [Access article in PDF] Book Review Reclaiming Rhetorica: Women in the Rhetorical Tradition Listening to Their Voices: The Rhetorical Activities of Historical Women The Changing Tradition: Women in the History of Rhetoric Reclaiming Rhetorica: Women in the Rhetorical Tradition. Ed. Andrea A. Lunsford. Pittsburgh Series in Composition, Literacy, and Culture. Pittsburgh: U of Pittsburgh P, 1995. Pp. xiv + 354. $22.95 paperback; $59.95 (...) cloth. Listening to Their Voices: The Rhetorical Activities of Historical Women. Ed. Molly Meijer Wertheimer. University of South Carolina Series in Rhetoric/Communication. Columbia, SC: U of South Carolina P, 1997. Pp. xii + 408. NP. The Changing Tradition: Women in the History of Rhetoric. Ed. Christine Mason Sutherland and Rebecca Sutcliffe. Calgary, Alberta: U of Calgary P, 1999. Pp. 279. NP. These three books, all published within the last five years, are both reflections of and important contributions to the growing scholarship on women's roles in rhetorical history as theorists and as practitioners. Indeed, the titles listed in chronological order--Reclaiming Rhetorica, Listening to Their Voices, and The Changing Tradition--suggest the process of transformation that the study of rhetorical history has undergone in recent years. Both individually and together, these works are a healthful antidote to the rhetorical history most of us learned at our (male) professors' knees.The books share certain features. As edited volumes, they span rhetorical history, from its classical roots to modern feminist theories. Although some figures appear more than once in different volumes (e.g., Aspasia and Mary Astell), the constraints of brief chapters permit us only tantalizing glimpses of each woman and her activities. Like all edited collections, these books include a variety of viewpoints and voices. Despite the disparity that is inevitable in a collection of essays, the quality of the work in these volumes is uniformly high. The editors of all three collections have done a nice job of assuring that the contributors stay to the point and write well without sacrificing scholarly precision. For those seeking a simple history or detailed analysis of any particular figure or time, these books will not suffice. But for most readers who are unfamiliar with the full range [End Page 294] of women in rhetorical history, this reader among them, these volumes provide a delightful introduction to the resilience, creativity, and significance of women in our formerly unacknowledged rhetorical past.In her introduction to Reclaiming Rhetorica, Andrea Lunsford shares the intriguing history of the volume, which explains its eclecticism and its goals. Approached by students who wanted to explore the role of women in rhetorical history, Annette Kolodny offered a two-semester graduate seminar titled "Women Rhetoricians." For the class, the students did extensive archival recovery research, much of which is included in the published volume. Interestingly, the students were the ones who persisted in trying to bring their works, plus the other contributors' efforts, to publication. The resultant book is, then, as James J. Murphy says in his foreword, "not a history of women rhetoricians, or women orators, or women writers. It is, instead, a glimmer of possibilities, an array of glances,--an enthymeme."The essays range widely in time covered and in focus. For example, the first chapter is a consideration of Aspasia, who left no written record of her own. Her accomplishments and influence must, then, be constructed from references to her in the works of others. The authors, Susan Jarratt and Rory Ong, contend that both her gender and her non-Athenian roots played a role in the suppression of her memory. Returning to the theme of "dangerous femininity," the concluding chapter explores the work of a modern theorist, Julia Kristeva. In that chapter, Suzanne Clark demonstrates how Kristeva has challenged traditional notions of rhetoric and provides dialogism as an antidote to the constraints of earlier approaches to human interaction. The chapters between these two take a variety of directions. Mary Wollstonecraft's feminist dialogics stands alongside of the autobiographical The... (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

Tutte le dottrine tradizionali, da quelle più arcaiche e "primitive" a quelle più evolute e articolate, hanno sempre affermato che l'uomo non è un essere solamente corporeo, sia pur dotato di ingegno e di intelligenza, ma è un essere dalla natura composita, formato da una parte materiale e da una o più componenti invisibili e "sottili" e che in lui risiede un principio immortale di origine divina o comunque soprannaturale. Secondo il modo di vedere tradizionale, l'uomo, per conoscere e realizzare (...) se stesso, deve pertanto prendere coscienza, in primo luogo ed essenzialmente, di questa sua natura di essere composito e immortale, e questa è una di quelle idee universali (per noi forse la più importante) che troviamo diffuse presso tutte le popolazioni del pianeta, anche se con sfumature diverse nelle varie tradizioni..."--Cover flap. (shrink)

A highly contentious issue in recent philosophy of logic has been the question of whether there can be contingently true identity statements. In this paper I want to investigate a possible loop-hole in the standard argument of the necessitarians (i.e., those who maintain that any true identity statement is necessarily true).

Throughout the long history of Classic Maya hieroglyphs, a logosyllabic writing system used from the late first millennium BCE through the mid-second millennium CE in southern Mesoamerica, the most commonly recorded phonetic value was the syllable u (/ʔu/). With over a dozen different u hieroglyphs, Classic Maya scribes had more options for recording /ʔu/ than any other syllable or logograph. Cognitive approaches to writing systems typically attribute graphemic variation (i.e., alternation between signs with equivalent linguistic value) to semantic differences like (...) animacy or to non-linguistic factors like identity. Distribution of Classic Maya u hieroglyphs, however, suggests that morphosyntactic context influenced which grapheme scribes wrote and when. This case suggests that scribal knowledge of Classic Maya hieroglyphs included ideas about writing's relationship to language. It also highlights the cognitive relevance of morphosyntax for a writing system's users as they differentiate among graphic signs with identical linguistic denotation. (shrink)

It is not infrequently said that the true justification of moral beliefs lies in theology. I wish here to examine precisely what is meant by this contention, and by what arguments, if any, it can be substantiated. The view I am examining is not that the only valid reason for doing what is right is a theological reason ; as if we could know independently of theology what was right, but required a theological motive to make it reasonable to do (...) it. It is rather that the very fact that it is right is logically dependent on certain facts of a theological nature; or, to express the matter otherwise, that from certain theological propositions it is possible validly to draw certain conclusions in the form of propositions which state what I ought to do, and that this fact is the source of the validity of these latter propositions. This, however, is not yet a sufficiently precise account of the theory in question, since it might cover a number of different contentions, some of which I think may be reasonably maintained, while others, I think, may not. I propose to work towards a clearer formulation by considering certain arguments which have been advanced in order to deny outright the very possibility of arguing validly “from theology to ethics”; for I do believe that these arguments prove something , and rule out certain theories as untenable. (shrink)

In the third century BC Rome embarked on the expansion which was ultimately to leave her mistress of the Mediterranean world. As part of that expansion a national literature arose, springing from the union of native linguistic energy with Greek literary forms. Shortly after the middle of the century the first Latin play took the stage; by 100 BC most of the important genres invented by the Greeks - epic, tragedy, comedy, historiography, oratory - were solidly established in their adoptive (...) Roman forms, and a new genre, satire, had been born. The chapters in this volume describe and analyse the process of creative adaptation which shaped the beginnings of Latin literature and laid the foundations for its future development as one of the great literatures of the world. Essential background is provided by introductory chapters on readers and critics in the Roman world. In these are described the form of the books themselves and the conditions under which they were produced, circulated and read. The whole volume offers an indispensable introduction to the understanding of the nature and quality of Latin literature. (shrink)