In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 319-328 [Access article in PDF] Introduction Mary-Kay Gamel Aristophanes' Thesmophoriazousai (Women at the Thesmophoria Festival) takes its title from an important three-day religious festival celebrated by women in honor of the goddess Demeter and her daughter Persephone. In this play, the playwright Euripides learns that the women of Athens plan to use the occasion of this women-only gathering to put him on (...) trial for the negative depictions of women in his plays. Euripides convinces a relative of his to dress in female costume, infiltrate the festival, and find out what the women are up to. The plot is quickly uncovered and the intruder captured. After several rescue schemes based on scenes from Euripides' tragedies fail, the playwright wins his relative's freedom by agreeing never to slander women again.Thesmophoriazousai has strong characters, a lively plot, and themes significant and timely both then and now—the relation between gender and performance, the representation of women in the media, an artist's responsibility. Yet it has received little attention from scholars and realized even fewer productions. The most obvious reason for neglect is the play's lack of explicit political commentary. Dover, for example, thinks it "leaves us with nothing difficult to think about... it has nothing to say about making peace" (1972, 169). The play contains considerable literary and dramatic criticism, in the form of both explicit commentary and parody, but this aspect has been far less studied than the contest between the tragedians in Aristophanes' Frogs. Some critics think the play weak compared to other plays of Aristophanes. Lever, for example, finds the conflict "not so clear-cut" since "the idea at stake... is only the stepping-off point for the fun that follows" (1956, 120). There are exceptions to this neglect. Norwood ranks Thesmophoriazousai far above Lysistrata: "for dazzling wit and irresistibly laughable farce combined this play is perhaps the world's finest masterpiece... glorious foolery suffused by a thrice-refined intellectual virtuosity that never misses a point, never overstresses it" (1931, 253-54). Rau (1967) gives the tragic parodies their due; in his substantial chapter on Thesmophoriazousai, Moulton declares it "skillfully composed and unified" (1981, 142); Bierl (2001) provides a detailed study of the role of the chorus. Yet the inattention continues: [End Page 319] Harriott (1986), Reckford (1987), and Segal (2001) mention the play only briefly.The years 2000 and 2001 seemed like a promising time to reconsider Thesmophoriazousai. The play's obscenity, which Norwood thought the only cause of its neglect, is no longer an obstacle. Recent scholarship on the religious and ritual context of Athenian drama helps us understand the role of the Thesmophoria and women's ritual in the play. And the rise of feminist criticism offers new perspectives on its portrayal of gender relations. Whitman unambiguously uses gender to denigrate the play: "These women are scarcely the warm wives and mothers of the Lysistrata, but rather a pack of vengeful furies... Femininity, whether real or assumed, is under a somewhat morbid cloud; by contrast, there is something genuinely refreshing about the masculinity of Mnesilochus [as he calls the Kinsman]... Comedy is virile, like Mnesilochus, and essentially truthful; tragedy is at best a hermaphroditic affair" (1964, 223-24). In a ground-breaking article first published in 1981, Zeitlin instead sees the play's connections between gender conflict and genre conflict—"the equivalence between intertextuality and intersexuality"—as the source of its power (1996, 375-416).Some feminists, however, question the function and effect of women's portrayal in Athenian plays written by males for male actors and possibly for an all-male audience. Zeitlin has argued that in Athenian tragedy, women are figures of male self-representation: "the self that is really at stake is to be identified with the male, while the woman is assigned the role of the radical other... functionally women are never an end in themselves, and nothing changes for them once they have lived out their drama on stage... they play the roles of catalysts, agents, instruments, blockers... and sometimes helpers or saviors for the male characters"... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.4 (2005) 613-622 [Access article in PDF] The Triumph of Cupid: Marlowe's Dido Queen of Carthage Mary-Kay Gamel University of California, Santa Cruz e-mail: [email protected] is a lot for classicists to like in Marlowe's The Tragedy of Dido Queen of Carthage. There was a lot for theatergoers to like in Neil Bartlett's production of this play at the American Repertory Theatre (ART) in Cambridge, (...) Massachusetts (March 5–26, 2005).The script of Dido is based primarily on the Aeneid (Books I, II, and IV). Vergil's text contains many formal and thematic allusions to tragedy, especially in IV: the agonistic speeches; Anna's role as nutrix/confidante; comparisons of Dido to a raging Bacchant (301–3), Pentheus (469–70) and scaenis agitatus Orestes 471; and her thoughts of imitating the savage violence of Medea and Atreus 600–602. Aeneid IV raises the possibility that the poem will metamorphose from epic to tragedy, with Dido taking center stage from Aeneas.That is what happens in Ovid's Heroides 7, and it happens again in Dido Queen of Carthage. Marlowe probably wrote this play—his first—in 1585, when he was a twenty-one year old student at Cambridge University. An excellent Latinist, Marlowe did a superb translation of Ovid's Amores, probably before writing Dido. In writing Dido, Marlowe focused on Aeneid I, II, and IV, the books of the poem best known to ancient, Elizabethan, and modern audiences, and in a few places his characters speak Latin lines from the Aeneid. In dramatizing this material, Marlowe did not simply translate but made many changes in structure, characters, and language. Aeneas' account of the fall of Troy, for example, condenses all of Aeneid II (more than 800 lines) into 163 lines (still a very long speech, which includes horrific details not in Vergil: "young infants swimming in their parents' blood, / headless carcasses piled up in heaps" [II.i.193–94]).1 [End Page 613]Most significantly, Marlowe makes his gods Ovidian rather than Vergilian—selfish and petty, concerned only with status and pleasure, using human beings only to satisfy their desires. Jupiter is a middle-aged man making a fool of himself over a teenager: in the first scene he is not, as in the Aeneid, looking down from Olympus and already thinking about Aeneas, but rather trying to seduce Ganymede, a "female wanton boy," when Venus indignantly interrupts with "Ay, this is it!" (I.i.50).Venus' encounter with Aeneas in Carthage (Aeneid I.314–417) ends with Aeneas' unanswerable question, "Why talk we not together hand in hand / And tell our griefs in more familiar terms?" (I.i.245–46). Venus and Juno's plot to unite Dido and Aeneas is complete with sexual double-entendre: in the cave, Juno says, they will "interchangeably discourse their thoughts / Whose short conclusion will seal up their hearts" (III.ii.93–94). Costumes in the ART production reflected the gods' iconic status, though more in terms of Hollywood than ancient representations: Juno was a drag queen, Hermes an unearthly figure in gold paint with huge wings, while Venus was played by an African-American actress in white satin and spike heels (including her hunting outfit) with exaggeratedly "black" gestures and intonations—waving her long fingernails, arching her neck, posing her head, and calling Juno "sistah!" Bartlett was clearly not worried about using sexual and racial stereotypes to make an impact.Marlowe's mortals are dignified, yet wounded and vulnerable. His Dido is proud, independent, initially uninterested in Aeneas; his Iarbas genuinely loves Dido, warmly welcomes Ilioneus and the others; Anna is in love with Iarbas. All try to behave reasonably and honorably but are invariably thwarted by the gods' games. The ART Aeneas was deeply damaged by his experiences in Troy. A craggy man, wearing a scoured breastplate over worn fatigues, he staggered on, stooped, beaten. The text supports this interpretation: before beginning his speech about the fall of Troy, he says "memory... beats forth my senses from this... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:...

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 319-328 [Access article in PDF] Introduction Mary-Kay Gamel Aristophanes' Thesmophoriazousai (Women at the Thesmophoria Festival) takes its title from an important three-day religious festival celebrated by women in honor of the goddess Demeter and her daughter Persephone. In this play, the playwright Euripides learns that the women of Athens plan to use the occasion of this women-only gathering to put him on (...) trial for the negative depictions of women in his plays. Euripides convinces a relative of his to dress in female costume, infiltrate the festival, and find out what the women are up to. The plot is quickly uncovered and the intruder captured. After several rescue schemes based on scenes from Euripides' tragedies fail, the playwright wins his relative's freedom by agreeing never to slander women again.Thesmophoriazousai has strong characters, a lively plot, and themes significant and timely both then and now—the relation between gender and performance, the representation of women in the media, an artist's responsibility. Yet it has received little attention from scholars and realized even fewer productions. The most obvious reason for neglect is the play's lack of explicit political commentary. Dover, for example, thinks it "leaves us with nothing difficult to think about... it has nothing to say about making peace" (1972, 169). The play contains considerable literary and dramatic criticism, in the form of both explicit commentary and parody, but this aspect has been far less studied than the contest between the tragedians in Aristophanes' Frogs. Some critics think the play weak compared to other plays of Aristophanes. Lever, for example, finds the conflict "not so clear-cut" since "the idea at stake... is only the stepping-off point for the fun that follows" (1956, 120). There are exceptions to this neglect. Norwood ranks Thesmophoriazousai far above Lysistrata: "for dazzling wit and irresistibly laughable farce combined this play is perhaps the world's finest masterpiece... glorious foolery suffused by a thrice-refined intellectual virtuosity that never misses a point, never overstresses it" (1931, 253-54). Rau (1967) gives the tragic parodies their due; in his substantial chapter on Thesmophoriazousai, Moulton declares it "skillfully composed and unified" (1981, 142); Bierl (2001) provides a detailed study of the role of the chorus. Yet the inattention continues: [End Page 319] Harriott (1986), Reckford (1987), and Segal (2001) mention the play only briefly.The years 2000 and 2001 seemed like a promising time to reconsider Thesmophoriazousai. The play's obscenity, which Norwood thought the only cause of its neglect, is no longer an obstacle. Recent scholarship on the religious and ritual context of Athenian drama helps us understand the role of the Thesmophoria and women's ritual in the play. And the rise of feminist criticism offers new perspectives on its portrayal of gender relations. Whitman unambiguously uses gender to denigrate the play: "These women are scarcely the warm wives and mothers of the Lysistrata, but rather a pack of vengeful furies... Femininity, whether real or assumed, is under a somewhat morbid cloud; by contrast, there is something genuinely refreshing about the masculinity of Mnesilochus [as he calls the Kinsman]... Comedy is virile, like Mnesilochus, and essentially truthful; tragedy is at best a hermaphroditic affair" (1964, 223-24). In a ground-breaking article first published in 1981, Zeitlin instead sees the play's connections between gender conflict and genre conflict—"the equivalence between intertextuality and intersexuality"—as the source of its power (1996, 375-416).Some feminists, however, question the function and effect of women's portrayal in Athenian plays written by males for male actors and possibly for an all-male audience. Zeitlin has argued that in Athenian tragedy, women are figures of male self-representation: "the self that is really at stake is to be identified with the male, while the woman is assigned the role of the radical other... functionally women are never an end in themselves, and nothing changes for them once they have lived out their drama on stage... they play the roles of catalysts, agents, instruments, blockers... and sometimes helpers or saviors for the male characters"... (shrink)

We use the construct of the “other” to explore how hate operates rhetorically within the virtual conclave of Stormfront, credited as the first hate Web site. Through the Internet, white supremacists create a rhetorical vision that resonates with those who feel marginalized by contemporary political, social, and economic forces. However, as compared to previous studies of on-line white supremacist rhetoric, we show that Stormfront discourse appears less virulent and more palatable to the naive reader. We suggest that Stormfront provides a (...) “cyber transition” between traditional hate speech and “reasonable racism,” a tempered discourse that emphasizes pseudo-rational discussions of race, and subsequently may cast a wider net in attracting audiences. (shrink)

The obesity epidemic among children and adolescents in the United States continues to worsen. The most recent analysis of data from the National Health and Nutrition Examination Survey showed that the prevalence of overweight among children and adolescents – defined as a Body Mass Index at or above the 95th percentile on gender-specific BMI-for-age growth charts developed by the Centers for Disease Control and Prevention – increased significantly between 1999-2000 and 2003-2004. Over this period, the prevalence of overweight among children (...) and adolescents aged 2-19 increased 23% – from 13.9% to 17.1%. In 2003-2004, 18.8% of children aged 6-11 and 17.4% of adolescents aged 12-19 were overweight. Roughly comparable proportions of each age group were considered to be at risk of becoming overweight. (shrink)

Zizek insisted on the ‘temporal gap between the production of value and its actualization’ (Zizek, 2009b [2006], p. 52): ‘the temporality here is that of the futur antérieur: value “is” not immediately, it only “will have been,” it is retroactively actualized, performatively enacted’ (ibid.). His use of the word ‘gap’ calls to mind the psychoanalytic literature on which Zizek draws, which provides a way to understand the 2007 Global Financial Crisis (GFC) and its aftermath. This paper presents three key ideas (...) about the GFC. First, the GFC was a traumatic encounter with lack, in which global capitalism confronted a gap at the centre of its chain of signifiers. Whether the financial system is seen as a series of promises or a system for allocating and hedging risk, a gap or lack remained at the origin of its chain of signifiers. Secondly, many explanations of the crisis focus on ‘getting back to fundamentals’, which can be read as an attempt to paper over the lack. Finally, in the panic to re-establish the master signifier, global finance tossed aside core justifications for capitalism, and it is not yet clear what the results will be: re-establishment of the old regime, a return to a Primal Father, or a turn to the analyst’s discourse. (shrink)

Biomedical ontologies not only capture a wealth of biological knowledge but also provide a representational system to support the integration and retrieval of biological information that shed light...

This work is designed to show that there is an implicit connection between Ockham's academic and political careers in his theory of conscience. ;Thomas Aquinas offers a theory of moral responsibility according to which the conscientious individual has knowledge of the rightness of her act which does not preclude her doing otherwise. His account of the will, however, proves that this state of affairs never obtains. Ockham's alternative presupposes that we freely choose our own ends. He is therefore entitled to (...) assert that conscience is the knowledge of one's own acts as right or wrong. ;The libertarian metaphysics underlying Ockham's ethics is tested by the problem of unfulfilled prophecy. Thomas Bradwardine argues that the Antichrist is free not to come because it is possible for God to undo the past. Thomas Buckingham argues for the possibility that the prophecy never meant that the Antichrist was going to come. Meanwhile, Ockham is left with the possibility that God lied. Ockhamist John of Mirecourt shows why this 'heretical' solution is the only way to save the faith. Ockham's theory of conscience provides a sound basis for interpreting his treatise on heresy. Heresy is disobedience, not to authority, but to the truth. Since the condemnation of heresy is itself a paradigm instance of this kind of perversity, freedom of speech prevails by default. Ockham's conception of a community united by this realization provides an answer to twentieth-century speech-regulation advocates. ;Ockham thought that it is through our obedience to the truth that Jesus's promise to be with his disciples 'always, to the end of the age' will be fulfilled. According to Walter Burley, 'I promise you a Christian' converts with 'A Christian is promised to you by me.' According to Ockham, in contrast, it is an opaque construction. This account of the logic of indefinite promises implies that no individual can claim to be one of the disciples to whom Jesus was referring. ;I hope to leave the reader in a better position to appreciate the sense in which the claim that Ockham's two careers are united by his nominalism may be considered correct. (shrink)

The Christian and Islamic doctrine of the VIRGIN BIRTH claim God asexually impregnated the Virgin Mary with Jesus, Mary’s impregnation was fully consensual (VIRGIN CONSENT), and God never acts immorally (DIVINE GOODNESS). First, I show that God’s actions and Mary’s background beliefs undermine her consent by virtue of coercive incentives, Mary’s comparative powerlessness, and the generation of moral conflicts. Second, I show that God’s nondisclosure of certain reasonably relevant facts undermines Mary’s informed consent. Third, I (...) show that a recent attempt by Jack Mulder to rescue VIRGIN CONSENT fails. As DIVINE GOODNESS and VIRGIN CONSENT are more central to orthodoxy, Christians and Muslims have powerful reason to reject VIRGIN BIRTH. (shrink)

PDZ (also called DHR or GLGF) domains are found in diverse membraneassociated proteins including members of the MAGUK family of guanylate kinase homologues, several protein phosphatases and kinases, neuronal nitric oxide synthase, and several dystrophin‐associated proteins, collectively known as syntrophins. Many PDZ domain‐containing proteins appear to be localised to highly specialised submembranous sites, suggesting their participation in cellular junction formation, receptor or channel clustering, and intracellular signalling events. PDZ domains of several MAGUKs interact with the C‐terminal polypeptides of a subset (...) of NMDA receptor subunits and/or with Shaker‐type K+ channels. Other PDZ domains have been shown to bind similar ligands of other transmembrane receptors. Recently, the crystal structures of PDZ domains, with and without ligand, have been determined. These demonstrate the mode of ligand‐binding and the structural bases for sequence conservation among diverse PDZ domains. (shrink)

This paper examines the situation of rurally rooted cross-border migrant workers from Myanmar during the Covid-19 pandemic. It looks at the circumstances of the migrants prior to the global health emergency, before exploring possibilities for a post-pandemic future for this stratum of the working people by raising critical questions addressed to agrarian movements. It does this by focusing on the nature and dynamics of the nexus of land and labour in the context of production and social reproduction, a view that (...) in the context of rurally rooted cross-border migrant workers necessarily requires interrelated perspectives on labour, agrarian, and food justice struggles. This requires a rethinking of the role of land, not as a factor in either production or social reproduction, but as a central component in both spheres simultaneously. The question is not ‘whether’ it is necessary and desirable to forge multi-class coalitions and struggles against external capital, while not losing sight of the exploitative relations within rural communities and the household; rather, the question is ‘how’ to achieve this. It will require a messy recursive process, going back and forth between theoretical exploration and practical politics. (shrink)

In a recent article, Jack Mulder, Jr., gives a Plantinga-style defense of the Virgin Mary’s free consent to bear Jesus at the Annunciation. Against Mulder, I argue that a theodicy (rather than a defense) is necessary to undermine my arguments, that Mulder’s Catholic appeal to Mary’s Immaculate Conception amounts to a kind of freedom-undermining metaphysical grooming, and therefore Marian consent remains invalid.

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

Cet article analyse quatre affaires qui ont eu lieu entre 1902 et 1906 dans la région de Kayes (Mali), et qui montrent l’importance de la sexualité et du couple comme enjeux complexes de pouvoir entre colonisateurs et colonisé-e-s. Ces affaires permettent en particulier d’identifier la fabrique coloniale et genrée de catégories spécifiques telles que esclavage, mariage et sexualité, de même que leurs contestations et leurs reconfigurations par des acteurs et actrices finalement peu étudié-e-s dans l’histoire du Mali : les femmes (...) esclaves et les agents subalternes de la colonisation. (shrink)

William Blake and Zadie Smith reached strikingly similar critical positions towards philosophical trends current in their respective eras. Both excoriate those who, for selfish ends, disparage beauty and in so doing sabotage justice, love, joy and genuine freedom. Smith’s On Beauty, like Blake’s America: A Prophecy and Visions of the Daughters of Albion, indicts the reprehensible intellectual discourses of the day that undermine human happiness and corrupt the social order. Whereas Blake critiqued the rights revolutions set in motion by Thomas (...) Paine, William Godwin, Mary Wollstonecraft and others from a more broadly moral and future-oriented angle than has generally been recognized (as Saree Makdisi has shown), Smith wittily dramatizes that same vision through a huge range of up-to-date ideological discourses and antagonisms–many of them descended from Paine et al.–to refurbish Blake’s particular brand of radical antinomianism and to celebrate much the same optimistic spirit that Blake invested in America and Visions. Indeed, Smith’s novel anticipates and critiques ab ovo the sweepingenthusiasms that are animating current uprisings worldwide. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 67-70 [Access article in PDF] Response to Mary J. Reichling, "Intersections: Form, Feeling, and Isomorphism" David Stevenson Vassalboro, Maine Mary J. Reichling's essay regarding the three concepts, form, feeling, and isomorphism, is lucid, well structured, and aptly supported by research of other music education philosophers. She states her purpose in the opening paragraph: "to examine and to elucidate various aspects (...) of these three concepts in her [Susanne Langer's] writing, as they are fundamental to an understanding of her aesthetic theory and to the construction of a philosophy of music and music education."A philosophy of music education must be the focus in all ensuing debate, and must remain of paramount importance. Arguments, especially dialectic arguments, are not won or lost; they merely strip away the outer garments until more and more of the truth is exposed. My thoughts regarding Reichling's essay are offered in this vein.Reichling amply makes the point that music is a dynamic moving form. She asserts that "Langer argues that form is not separable from content," clarifying further by saying that "By content Langer is designating the form's import or meaning." And she offers other examples of dynamic, moving forms, among them, "forms created by movements of clouds or fog through the mist and early light." [End Page 67]At this point, perhaps interjecting the notion of perception is in order. I would suggest that the cloud formations offer no content or meaning outside of the viewer's perceptions or imagination. Music (art), being the nebulous subject that it is, ensconced in subjectivity and steeped in perception, both interpersonal and intrapersonal at the same time, exists to be taken by individuals, each at his or her own level of accomplishment, understanding, and interest. Therefore, does the meaning inhere in the form, as Langer and Reichling assert, or is it assigned by the listener (in the case of music) or by the viewer (in the case of the cloud formation)? "If the doors of perception were cleansed every thing would appear to man as it is: infinite."1 William Blake's observation notwithstanding, the truth is that perception is the only thing that we have with which to view our existence. I believe that there is such a thing as absolute truth, and that reality does exist. However, we mere mortals lack the ability to view the world through anything other than our own perceptions. The knowledge or meaning gained through contemplation of the form is, in all likelihood, quite different for each observer.Likewise, imagination and conceptual ability play a role in interpreting what the senses have perceived. Langer, and by quotation, Reichling, offers the notion of a red dot placed on the rim of a spinning wheel that appears to the viewer as a red circle. "When the spinning stops, the form, the red circle, evaporates. Did it really exist? Does it have ontological status? Is it merely an illusion?" I asked my students to close their eyes and imagine a spinning wheel with a red dot placed on the rim. I asked them, "As the wheel spins, do you see the dot?" The answer was that they saw a red circle. Did they really see a red circle, or even a spinning wheel? Of course not, we were in a music classroom. Yet they were able to conceptualize or imagine the image, and I would suggest that that carries more weight in the realm of art than does actual ontological status.The problem with the experiment of the preceding paragraph is that "Langer argues that form is not separable from content, writing that it is not possible 'to divorce the logical form from its one embodiment or expression.'" In the subsequent paragraph Reichling states, When the music stops, when the ballet is concluded, when the play ends, when the wheel stops spinning, memory may remain but the content (content as meaning-my parenthetical interjection), the feeling, the red circle, the image the dancer created is gone. Is this illogical or has knowledge... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 369-406 [Access article in PDF] The Body And Its Representations In Aristophanes' Thesmophoriazousai:Where Does The Costume End? Eva Stehle Aristophanes' Thesmophoriazousaiis a rich and funny play, but it gives the impression of lacking a sustained point. Theater directors can happily stage it, subverting Aristophanes by casting women and recasting the text to speak to modern disputes over gender, sex, and politics, as (...) class='Hi'>Mary-Kay Gamel has done so wonderfully (see her article in this volume). But the student of comedy who wishes to study the play in the context of its original production in 411, probably at the City Dionysia, has a harder time. Because it has no overt political theme it was for long passed over as a paignion, an escape from relevance in the tense atmosphere of that spring. As a "woman play" it seems less satisfactory than Lysistrata or Ekklesiazousai because it has no female lead character and Euripides' nameless kinsman (whom I call "Inlaw") upstages the women and their concerns. 1 With the current interest in performance and the metatheatrical aspects of comedy, Thesmophoriazousai has finally come into its own as a sly dialogue on theater and ritual, comedy versus tragedy, and gender. 2 But the older view remains in effect that the play has no politics. At the same time, it is assimilated to Aristophanes' other plays in its thematics, while its striking anomalies go unremarked. As a result, it still does not quite come into focus. [End Page 369]As a play about ritual and theater, Thesmophoriazousai is said to absorb women's ritual and restage it within its own festival setting at the City Dionysia. Yet this is the only one of Aristophanes' surviving plays in which the principal male characters exit the stage before the end of the play. Here they flee, in female dress to boot, leaving the chorus to play out the final scene with the Scythian slave. 3 Euripides and Inlaw do not share in the fun of sending the slave running in one wrong direction then another. And the play ends as it began, on Nesteia, the day of fasting for the women performing the Thesmophoria. 4 No revelry brings on the transition to feast and renewal that the audience probably expected. No procession points the way to a new instauration created by the comedy. 5 Given the importance of processions in Athenian life as an expression of community revival, this is a speaking absence. 6As a play about tragedy and comedy, Thesmophoriazousai is said to show the triumph of comedy over tragedy as the more encompassing and flexible art form. The plots of tragedy fail to rescue Inlaw, while a comic plot succeeds: Euripides brings on a dancing girl, Elaphion, who seduces the Scythian slave away for sex while Euripides frees Inlaw. But Euripides' final trick is no comic plot. In the Aristophanic comic plot the [End Page 370] hero wins a desirable young woman, often one whose name promises new fertility, peace, or power; he does not give one away to the blocking figure. 7 Euripides also capitulates to the women, promising never to speak ill of them again. Only by relinquishing both triumph and sex (and thereby also festivity) does he salvage his poor kinsman's life. Euripides' plot fit for a "barbarian nature" (1129) is rather a farcical version of his own rescue-play plot: like Helen and Andromeda it involves deceiving the blocking figure, which allows the principals to escape while leaving others (chorus or a god) to thwart the chase. But its success is based on abandoning pure representation and giving the "real" (within the world of the play) woman away to the internal audience in order to rescue a pseudo-woman.As for gender representation in the play, most analysis holds that men prevail. Different commentators take Aristophanes to be revealing that women on stage are all really men, or questioning what a woman really is since she is the very figure of mimesis, or showing that women deserve... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) v-vi [Access article in PDF] ThesmophoriazousaiPrefaceThe American Journal of Philology began the year 1999 (Volume 120.1) with a special issue, the first in AJP's history, devoted to the Senatus Consultum de Cn. Pisone Patre. The guest editors of this volume were Cynthia Damon and Sarolta Takacs. While it has not been the practice of the Journal to publish special issues, it seems appropriate (...) that we do so from time to time when a particularly interesting set of articles on a major theme presents itself. Such special issues are able to cover an author, work, or subject with more range and depth than one individual paper can, and they often contain layers of complexity and interdisciplinary insights that a single author would find it difficult to contribute.This special issue had its origins in the conference "Performing Aristophanes," held at Case Western Reserve University on February 24, 2001. Designed by the University's Theater Arts Department to complement the production of Mary-Kay Gamel's version of Aristophanes' Thesmophoriazousai, The Julie Thesmo Show, the conference was generously supported by the Baker-Nord Center and by the Susan and Ronald Heller Conferences for the Arts Fund. Two of the articles in this volume, those by Angeliki Tzanetou and Gonda Van Steen, were presented in an earlier version at the conference; others offering presentations were Niall W. Slater, Peter Meineck, John Starks, Jr., and Richard Perloff. Jeffrey Henderson provided incisive comments (which formed the basis for his epilogue in this volume). The other articles included here (Gamel, Scharffenberger, Stehle) were added at a later date.As Henderson points out in his epilogue, the Thesmophoriazousai is the Aristophanic play that has been least explored by scholars. But it has lately received more notice in new translations and a new critical [End Page 5] edition, and the time seems right for a new production of this play with accompanying reflections on its performance history, issues of gender and the body, the limits of a written text, the relationship between tragedy and comedy and between ritual and theatrical representation, and an unpublished, controversial, and relatively unknown translation of this play. Indeed, classicists are now paying more attention to both performance studies/performance criticism and translation as bona fide subdisciplines of classics. It should be noted that this year, for only the second time, the American Philological Association gave the Goodwin Award of Merit to a translation (of several plays of Aristophanes, done for the Loeb Classical Library by Jeffrey Henderson). 1 AJP has in the past year published as Brief Mentions several reviews of contemporary performances of ancient texts.Thus, this special issue marks a new horizon for the American Journal of Philology. I would like to extend my thanks to Mary-Kay Gamel, the guest editor of this volume, for overseeing, editing, coordinating, and encouraging these articles and for her leadership in the fields of performance and performance studies in classics.Barbara K. Gold Editor Note 1. The first award was given in 1977 to Harold Cherniss for his two-part Loeb edition of Plutarch's Moralia, Vol. 13. The award to Henderson was the first time the award was given for a literary translation.... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 501-511 [Access article in PDF] Epilogue Jeffrey Henderson Judging from its migration in the early fourth century to southern Italy, Thesmo (if, following our editor's lead, I may be permitted this short form) was evidently successful in its own time; its exportability was perhaps due to its relative atopicality, its parodies of a tragic poet whose international celebrity (despite Aristophanes' prediction in Frogs) (...) only increased after his death, and its setting at a festival celebrated all over the Greek world, to say nothing of its sheer comic exuberance. And yet of Aristophanes' extant plays, Thesmo is the most precariously attested (one medieval manuscript and its apograph; four papyrus fragments) and least explored by scholars, editors, and translators. Before Sommerstein's edition of 1994, no separate scholarly edition or commentary had appeared for ninety years. Recently, however, Thesmo has been attracting lively interest: some new translations, fresh consideration of its portrayal of gender, genre, and cult, one new critical edition (with Italian translation) by Carlo Prato (2001) and another by Colin Austin (forthcoming) in preparation for the Oxford series edited by K. J. Dover. And so conditions are ripe for an evaluation of Thesmo as a play for the stage, even as a play that can speak to our times.Mary-Kay Gamel's conference and dramatic festival in February 2001 brought together scholars and students, performers, and local audiences to examine and experience the play's theatrical vitality past and present and succeeded not only in stimulating fresh consideration of its original character, but also in revealing the limitations of approaching an ancient comedy solely as a fixed reader's text, the document of a time long past. I was invited to the conference to play the role not of critic or respondent but rather of informal and freeform commentator, a role that with the reader's indulgence I will continue to play as this selection of papers is presented to a wider audience.It may seem self-evident that not everything worth knowing about a play can be conveyed by the words of its script alone; drama, after all, means enaction. Yet that is the assumption, implicit or explicit, on which classical drama has been studied, with Aristotle's blessing, since Hellenistic times. In classical Athens, art and education had been based primarily [End Page 501] on mousike: the performance of poetry, music, and dance, especially in drama, the primary musical enterprise of Athens; and drama had been judged and interpreted, as by Aristophanes and Plato, in terms of its effects—moral, civic, and spiritual no less than aesthetic—on the theatrical public. But by the time of Aristotle's Poetics, the rise of prose and of narrowly text- or language-based analytical systems divorced from communal contexts was fast removing performance and spectators from the evaluative study of drama.In traditional classical scholarship, formed in the Hellenistic schools and libraries, drama has been important chiefly as a corpus of fixed inherited texts. The fact that performance is intrinsically unstable, evanescent, and difficult to recreate in academic settings and that original performances are impossible to recapture, unacceptably complicated the construction of a stable "classical tradition" of literary interpretation and imitation. And so classicists have not until recently tried to develop performance-based approaches that could provide insights into our extant scripts that textual and formal analysis alone cannot.But the effort to develop performance-based approaches is well justified. In play scripts, like musical scores and song lyrics, the potential for ever different and ever-changing performance styles and contexts is a vital dimension of their meaning, and all the more powerful for being indeterminate. Thus watching a classical play performed is always different from reading it and always enlarges our response to it as a work of art, however remote our response may be from the original audience's. That each restaging of a play produces a different reading and a different experience for the audience may disturb text-bound readers, but this sort of dynamic instability is intrinsic to the play's theatricality, which cannot be fully apprehended in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Stagecraft and Performance of Roman ComedyAmy RichlinC. W. Marshall. The Stagecraft and Performance of Roman Comedy. Cambridge: Cambridge University Press, 2006. xiv + 320 pp. 2 black-and-white figs. Cloth, $90.C. W. Marshall's new book forms part of the productive trend towards treating ancient theater as performance. In 1991 David Wiles began The Masks of Menander (Cambridge: Cambridge University Press, xi) by commenting on the institutional divide between (...) classics and drama studies. Marshall, as a writer, occupies the unusual position of being able to speak both as a classicist and a professional actor, with substantial credits in both improv and Shakespeare. His work is influenced by writers in theater studies, particularly Susan Bennett on audiences, Keith Johnstone on improv, and Jacques Lecoq on masking and physical movement. Among writers on ancient comedy, he shares with David Wiles a commitment to the serious study of masking, and with Timothy Moore a focus on the interaction between actors and audience. As a performer and director, he has often worked with Mark Damen and Mary-Kay Gamel towards an understanding of ancient drama through hands-on production. Above all, this book is based in Marshall's experience as an actor; having had the privilege of working with him on a production of Persa, I can attest that the physicality of his acting pops his sense of what happened on the stage of Plautus into vivid 3-D.Marshall throughout prefers complex to simple models: the audience was not monolithic (no "Romans" here), venues differed in nature, the actors did not share a single status, literary influences on the plays were multiple (no tyranny of the "Greek original"). The introduction begins with a satisfyingly spiderwebby chart (2) laying out a stemma of influences on Plautus and, separately, Terence. As Marshall observes, audience members bring along their own performance codes, and "For Rome such codes are unlikely even to include knowledge of the play which the playwright claims as his source for the present entertainment" (109). (That is, to get a laugh out of Strange Brew, it is not necessary to know much [End Page 131] about Hamlet.) Venues for production would have been "found spaces" (47), often (following Sander Goldberg) a flat space in front of a temple, with the audience sitting on the steps, but generally any public space capable of holding a simple stage, backdrop, and seats. Marshall envisions the troupe as a mix of free and slave actors, some of whom owned others, opening up "convoluted situations" in the assignment of roles (87–88). Masks, as he demonstrates, could not have followed any rigid typology, especially (151) when they had to put a face on slaves who turned out to be free men (Captivi), whores who turned out to be virgins, and, I would add, Calydonians who turned out to be Carthaginians (Poenulus). The content of plays was determined by a simple bottom line: "the troupe sells an audience to the magistrates for a price" (83). Audiences were "heterogeneous" (186), and, while performance works to create a "consolidated audience," the "economic and social diversity of the audience itself exists in tension with this" (185); if the magistrates wanted to emphasize "Roman social stratigraphy," the plays worked to question divisions (77).The theme throughout is "flexibility," in keeping with what for me is the book's most important hypothesis: the plays of Plautus were collaborative creations (186–87): they "contain lines that did not originate with the playwright" but from "the collective of the theatrical troupe" (268–69). Here, Marshall persuasively draws on his own experience with improv groups, invoking the lazzi of commedia dell'arte and the shtick of vaudeville (165, n. 10) to suggest how Plautus's plays were put together by what he felicitously dubs "shtickomythia" (193). Speaking here as a translator of Plautus, I would vigorously agree: the register often slips into jokes that are corny (e.g., Poenulus 279), and what is corn but a shtick-on plaster? Even the inventiveness of slave-torture insults feels a lot like "yo mama" jokes, the kind of call-and-response humor that young men in agonistic cultures perfect in verbal dueling. Most... (shrink)

As professionals, nurses are engaged in a moral endeavour, and thus confront many challenges in making the right decision and taking the right action. When nurses cannot do what they think is right, they experience moral distress that leaves a moral residue. This article proposes a theory of moral distress and a research agenda to develop a better understanding of moral distress, how to prevent it, and, when it cannot be prevented, how to manage it.

Contemporary American policing practices are marked by increasingly top-down, racialized, militarized, and pseudo-scientific features. Social scientists have played a central role in creating this political situation: social-scientific advocates of “law and order,” far from providing a value-neutral description of social reality, appear instead to have contributed to the creation of a peculiarly modern form of power.

In this book Mark Bevir and Jason Blakely set out to make the most comprehensive case yet for an 'interpretive' or hermeneutic approach to the social sciences. Interpretive approaches are a major growth area in the social sciences today. This is because they offer a full-blown alternative to the behavioralism, institutionalism, rational choice, and other quasi-scientific approaches that dominate the study of human behavior. In addition to presenting a systematic case for interpretivism and a critique of scientism, Bevir and Blakely (...) also propose their own uniquely 'anti-naturalist 'notion of an interpretive approach. This anti-naturalist framework encompasses the insights of philosophers ranging from Michel Foucault and Hans-Georg Gadamer to Charles Taylor and Ludwig Wittgenstein, while also resolving dilemmas that have plagued rival philosophical defenses of interpretivism. In addition, working social scientists are given detailed discussions of a distinctly interpretive approach to methods and empirical research. The book draws on the latest social science to cover everything from concept formation and empirical inquiry to ethics, democratic theory, and public policy. An anti-naturalist approach to interpretive social science offers nothing short of a sweeping paradigm shift in the study of human beings and society. This book will be of interest to all who seek a humanistic alternative to the scientism that overwhelms the study of human beings today. (shrink)

Technological advances are making devices that functionally replace body parts—artificial organs and limbs—more widely used, and more capable of providing patients with lives that are close to “normal.” Some of the ethical issues this is likely to raise relate to how such prostheses are conceptualized. Prostheses are ambiguous between being inanimate objects and sharing in the status of human bodies—which already have an ambiguous status, as both objects and subjects. At the same time, the possibility of replacing body parts with (...) artificial objects puts pressure on the normative status typically accorded to human bodies, seemingly confirming that body parts are replaceable objects. The paper argues that bodies’ normative status relies on the relation of a body to a person and shows that persons could have similar relations to prostheses. This suggests that in approaching ethical issues surrounding prostheses, it is appropriate to regard them as more like body parts than like objects. (shrink)

Developing and implementing artificial intelligence (AI) systems in an ethical manner faces several challenges specific to the kind of technology at hand, including ensuring that decision-making systems making use of machine learning are just, fair, and intelligible, and are aligned with our human values. Given that values vary across cultures, an additional ethical challenge is to ensure that these AI systems are not developed according to some unquestioned but questionable assumption of universal norms but are in fact compatible with the (...) societies in which they operate. This is particularly pertinent for AI research and implementation across Africa, a ground where AI systems are and will be used but also a place with a history of imposition of outside values. In this paper, we thus critically examine one proposal for ensuring that decision-making systems are just, fair, and intelligible—that we adopt a principle of explicability to generate specific recommendations—to assess whether the principle should be adopted in an African research context. We argue that a principle of explicability not only can contribute to responsible and thoughtful development of AI that is sensitive to African interests and values, but can also advance tackling some of the computational challenges in machine learning research. In this way, the motivation for ensuring that a machine learning-based system is just, fair, and intelligible is not only to meet ethical requirements, but also to make effective progress in the field itself. (shrink)

Fetal tissue transplants have now been successful in primates, raising the possibility of treatment for Parkinson's disease and other chronic illnesses. Whether or not abortion is morally justified, use of human fetal tissue for research or therapy is justified in certain circumstances. The rationale, both for permitting transplantation of fetal tissue and for limitations in exercising the technology, is based on the same set of ethical principles that supported restrictive legislation in the past: respect for autonomy and a balancing of (...) harms and benefits that gives priority to those most affected. (shrink)

The part anger plays in motivating political action is frequently noted, but less is said about ways in which anger continues to be a part of how people do politics. This article critically assesses approaches to emotions that emphasize managing anger in accordance with ‘feeling rules’. It reflects on the utility of Marxist notions of conflict as the engine of change for the understanding of how anger operates in political life. This involves understanding the ambivalence of anger and its operation (...) within particular power relations. Shifting sets of conventions have had some continuity in discouraging women in Western nations (particularly white and middle-class women) from showing anger. But clearly, women do get angry and feminists have drawn on anger in acting politically. New Zealand feminist writings from the ‘second wave’ are taken as illustrative of the common difficulties Western feminists faced in dealing with anger. These difficulties were due to trying to juggle social conventions about femininity, the political ideal of sisterhood, and the realities of dealing with other women in often new and experimental political processes. Anger could be personalized and hurtful, but in certain cases its expression was constructive in producing more respectful relations. Exploring these cases makes it clear how anger produces, and is produced by, relations with others. (shrink)

This paper shows that species are individuals with respect to evolutionary theory in the sense that the laws of the theory deal with species as irreducible wholes rather than as sets of organisms. 'Species X' is an instantiation of a primitive term of the theory. I present a sketch of a proof that it cannot be defined within the theory as a set of organisms; the proof relies not on details of my axiomatization but rather on a generally accepted property (...) of speciation; hence the same argument should work for any axiomatization which captures this generally accepted property of speciation. (shrink)

This discussion note responds to Mark Colyvan’s claim that there is no easy road to nominalism. While Colyvan is right to note that the existence of mathematical explanations presents a more serious challenge to nominalists than is often thought, it is argued that nominalist accounts do have the resources to account for the existence of mathematical explanations whose explanatory role resides elsewhere than in their nominalistic content.

It is 2048 BE; the Anonyma Network, represented by a young philosopher known affectionately as Annie, offers this fiftieth anniversary edition of Mary Daly's revolutionary work of Radical Elemental Feminism, Quintessence ... Realizing the Archaic Future. Mary Daly has, for the past thirty years, been at the forefront of radical feminist thinking. Here she exposes and examines the abuses women face at the end of the twentieth century - for example, the dangerous rhetoric of the Promise Keepers; the (...) systematic rape of women in war zones like Bosnia; and the invasive manipulation of women's bodies and all of nature in genetic engineering, fertility experiments, and cloning. But she also offers a "Far-Out Vision and Hope for Wonderlusting Women" who are beginning to discover Quintessence: Spirit that fills the universe and gives it life and vitality. (shrink)