Greek seafaring between the 10th and 6th centuries BCE gave rise to a technical culture centered around navigation, commerce, and international cultural exchange. The Greeks were not a unified nation in the modern sense, confined to a territory centralized in Attica or the Peloponnese. Instead, they were a collection of independent city-states (poleis) spread across the Mediterranean, from the Iberian Peninsula to the Black Sea. The intense commercial relationships among these Greek settlements and with other peoples wove a Mediterranean cultural (...) web that fostered a genuine spirit of intercultural exchange, leading to a new cultural synthesis that gave the Greeks – and the world to this day – an extraordinary drive for originality. This technical culture, which Rossetti calls the “cultura dell’attendibilità,” was based on observation, objectivity, and rationality. Without these principles, and relying solely on myth, seafaring could never have flourished. This shift away from myths to a new culture is testified by Xenophanes, who, in DK B 18 (LM D53), contrasts the ancient method of gaining knowledge through communication with the gods with a new method of research that in time yields better results. (shrink)

Several scholarly inquiries have explored the possibility that Parmenides was acquainted with Heraclitus and engaged in polemics against him, in light of the fact that their respective chronologies do not preclude this scenario. However, with few exceptions, the debate remains polarized between two main positions: the first contends that Heraclitus and Parmenides were likely unaware of each other, or at least that no conclusive evidence exists to prove their acquaintance; the second posits that Parmenides was indeed aware of Heraclitus and (...) argued against him. This paper focuses on Heraclitus B 49a DK to offer additional, albeit measured, support for the latter position and to suggest a hypothesis, at least a partial one, concerning the origins of Parmenides’ κρίσις between εἶναι and μὴ εἶναι. (shrink)

The article deals with the Greek idea of circular thought and especially with the question of its presence and meaning in the philosophy of Parmenides of Elea. A new interpretation of the fragment DK 28 B 5, which is crucial to this issue, is proposed. It is suggested that the circularity of thought refers to the deductive mode of the arguments in the “Aletheia” and to the proleptic character of some of the Parmenidean statements. Both fragment B 5 (to be (...) placed probably at the beginning of the deduction of the “Aletheia”) and B 8.50-51 (the end of the “Aletheia”) may be successfully interpreted on the basis of this idea. The proposed interpretation makes clear why the circularity of thought does not oppose the linearity of the reasoning and why the logical character of cognition does not contradict its immediacy for Parmenides. (shrink)

As one of the tools used to express feelings and thoughts, music has been utilised by people in many fields throughout history. Music is seen as a means of expressing religious feelings, being used as an educational tool, as a way for military bands to invoke heroic feelings in soldiers, and as way of expressing emotions in joyful and melancholic days. Music was especially born and shaped by rituals of religious origin. With the spread of the religion of Islam, music (...) became an issue that paved the way for many religious discussions. It should be clearly noted that while many verses in the Qur'an are cited as a source for these discussions, it is very difficult to deduce from these verses whether music is halal (permissible) or haram (prohibited). Additionally, many permissible matters in Islam become prohibited when used maliciously or out of their intended purpose, however, if everything that has a possibility of being used maliciously or outside of its intended purpose is considered haram, this will lead to a path of denying many blessings that Allah has bestowed upon people in this world. Restricting issues out of the possibility of their wrongful misuse and depriving others of this blessings cannot be just. Nevertheless, although the discussion of music as permissible or prohibited has largely existed within the religion of Islam, those involved with Tasawwuf (Islamic Mysticism), also known as Sufis, have generally perceived music as nutrient for the soul. Consequently, Sufis have incorporated music into their worship in order to invoke religious feelings over the centuries. Religious music is divided into two; the first is Mosque Recitations, and the second is Tekke music (also known as Tasawwuf Music). Mosque Recitation is that which is performed without instrumentals using only vocals and an improvised approach. On the other hand, Tekke music is performed with an instrument and a composed written piece. Within the Mosque Recitation is the Qur’an recitation, which when read in accordance with its rules has a natural phonetic style, meaning that when the Qur’an is recited according to the Maqam (Melodic modes of recitation) requirements, it evokes spiritual feelings to the listeners. Accordingly, there is a connection between the recitation of the Qur'an and the scientific understanding of music. When a connection between the Qur’an and disciplined recitation is established, this causes an artistic sensation to the listener, which experts in the field have name “Fem-i Muhsin”.Hafız (a title used for a person who has memorised the Qur’an in its entirety) Bekir Sıdkı Sezgin is one of the important musicians to have left his mark on Turkish music, where a discipline was formed after him. He has a very high status due to the value he gave to Turkish music as he became one of the leading names in Turkish music, especially considering the large yet unknown number of students that he personally trained. Hafız Bekir states in interviews that he especially owed his success in the science of music to the Qur'an education he received at a young age, and he emphasises that those who are on the way to becoming good musicians must receive a Qur'an education; additionally, because classical Turkish music lyrics are Arabic and Persian, he argues that the way to correctly pronounce these lyrics is to also know Ottoman Turkish to a high degree. Hafız Bekir was also able to recite the Qur'an to a degree of perfection and was proud of being a Hafız, where he believed that the Qur'an harmonised between his memory and excellent musical knowledge. Hafız Bekir recited the Qur’an according to the suitable Istanbul Maqam of reading, and by using the Maqam befitting the Qur’an recitation, Hafız Bekir was able to take the listeners on a spiritual journey.A survey of the works produced about Hafız Bekir shows that although there have been many theses, articles, and interviews published about him, there is no specific study on his Qur’an recitation according to the Istanbul Maqam style. In this study, Hafız Bekir’s dual identity as both a musician and Qur’an Hafız is underlined as a way to contribute to the field by revealing this side of Hafız Bekir, and also examining the Qur'an education that he recommends to his students. The recitation of verses 189-194 of the chapter Âli İmrân, which Hafız Bekir recited in the Istanbul Maqam style, is notated with the Mus notation system, and analysed according to the Maqam reading style. The notation is formed based on a sensory evaluation with assistance from experts in the field. This study, as a musical analysis, was produced to reveal the importance of this subject to interested parties. (shrink)

The article presents a reconstruction of Heraclitus’ saying in DK 22 B 14, which is generally thought to be two discontinuous statements (B 14a and B 14b), inorganically linked by a commentary by Clement of Alexandria. Although this sentence of Clement’s is almost unanimously rejected as a Christian misinterpretation of the pagan mysteries, the author of the article attempts to demonstrate that the core of the sentence does come almost certainly from Heraclitus. All that Clement did was to change the (...) meaning of the sentence by changing the subjects for the objects. This new reading of the fragment makes it possible to link the two parts of the saying in a meaningful way, and at the same time to shed light on what were probably Heraclitus’ main criticisms of the initiates of the four different mysteries and the initiatory cults (B 14a). This is supported by a detailed historical and religious analysis of the probable meaning of the different designations for the initiates and the possible interconnections between them. (shrink)

Le sujet de cette étude est la manière dont Plotin, dans une perspective qui reste essentiellement platonicienne, interprète la notion de noeîn dans Parménide, surtout à la lumière du bien connu Fr. 3 DK, sur l’identité de l’être et de la pensée, dont Plotin, avec Clément d'Alexandrie, est notre source. Cette interprétation est essentielle pour comprendre la nature et la fonction ontologique-métaphysique de l’hypostase plotinienne du Noûs. La conception parménidienne de noeîn est profondément remaniée par Plotin et intégrée dans une (...) perspective compatible avec l’ontologie platonicienne et la métaphysique néoplatonicienne. (shrink)

In Heraclitus’ time, thymos and psyche carried highly similar or even identical meanings, because both could refer to life, courage, personality, emotions, and reason. Heraclitus probably worked with all of these meanings. He may have been partly inspired by Homer and post-Homeric literature, where the two terms were likewise placed side by side and often used interchangeably. In Heraclitus, thymos and psyche are not opposites in terms of signification. Oftentimes, they can be “swapped,” and their meaning and “costs” exchanged. The (...) source and cause of this special exchange is desiring or wanting (thelein), which connects all these senses but is also the source of conflict and fighting. Desire—regardless of what it is and what is desired—is simultaneously the acquisition of the desired object or person and a way of paying for it. This struggle for the desired object is difficult not only because of its consequences (the price), but also because it is not possible to permanently stop desiring, which is why this struggle cannot be brought to an end. (shrink)

El presente artículo aborda las connotaciones y los fundamentos de la paráfrasis cum canere vellem en Serv. Ecl. 6. 3. El análisis del sentido del verbo volo en este contexto y la confrontación del pasaje con Serv. Ecl. 6. 5 revelan que Servio interpreta la frase cum canerem reges et proelia como referencia a un temprano empeño de Virgilio en componer poesía épica, del que pronto desistió. Esta interpretación está condicionada por la idea de que la secuencia cronológica Églogas - (...) Geórgicas - Eneida tiene un correlato jerárquico, idea que se funda en noticias biográficas y en la teoría de la tripertita varietas. This paper focuses on the connotations and grounds of the paraphrase cum canere vellem in Serv. Ecl. 6. 3. The analysis of the sense of verb volo within this context, as well as the confrontation between that passage and Serv. Ecl. 6. 5, show that Servius interprets the clause cum canerem reges et proelia as a reference to Virgil's early endeavor to compose an epic poem, from which he shortly desisted. This interpretation is conditioned by the idea that the chronological sequence Eclogues - Georgics - Aeneid has a hierarchical correlate, an idea which is founded on biographical information and the theory of tripertita varietas. (shrink)

In this paper I offer a new interpretation of Melissus' argument at DK 30 B8. In this passage Melissus uses an Eleatic argument against change to challenge an opponent who appeals to the authority of perception in order to support the view that there are a plurality of items in the world. I identify an orthodox type of approach to this passage, but argue that it cannot give a charitable interpretation of Melissus' strategy. In order to assess Melissus' overall argument (...) we have to identify the opponent at whom it is aimed. The orthodox interpretation of the argument faces a dilemma: Melissus' argument is either a poor argument against a plausible opponent or a good argument against an implausible opponent. My interpretation turns on identifying a new target for Melissus' argument. I explain the position I call Bluff Realism (contrasting it with two other views: the Pig Headed and the Fully Engaged). These are positions concerning the dialectical relation between perception on the one hand, and arguments to counterperceptual conclusions on the other. I argue that Bluff Realism represents a serious threat from an Eleatic point of view, and is prima facie an attractive position in its own right. I then give a charitable interpretation of Melissus' argument in DK 30 B8, showing how he produces a strong and incisive argument against the Bluff Realist position I have identified. Melissus emerges as an innovative and astute philosopher. (shrink)

Le début du fr. 21 DK d’Empédocle concerne les manifestations des quatre éléments dans le monde autour de nous. D’après le contexte, le référent de l’adjectif substantivé ambrota, au vers 4, concernerait l’air ou quelque chose intimement lié à l’air. Le mot ambrota se trouve enchâssé dans un développement sur le soleil, qui suggère le passage homérique du voile d’Héra d’un blanc éclatant comme le soleil. À partir de là et grâce à l’interprétation livrée par Aétius selon laquelle la racine (...) divine Héra, chez Empédocle, est l’air, il vient que les ambrota, souvent associés à heimata (les vêtements immortels) dans les vers épiques, désigneraient une Héra vêtue. Les vêtements qui dissimulent Héra, la déesse qu’il faut associer aux ambrota, seraient les nuages blancs, essentiellement faits d’air. L’explication repose sur une matrice thématique inscrite dans des vers épiques. Une présentation du chœur des Nuées d’Aristophane apporterait un écho à la conception empédocléenne des ambrota compris comme des nuages blancs. (shrink)

Friedrich Nietzsche resorted several times to the image of a child playing with sand or pebbles. His purpose in doing so was to evoke a cyclical process of construction and destruction devoid of both responsibility and finality. This essay examines, on the one hand, the relation of the child’s image to its two main hypotexts (Heraclitus DK 22 B 52 and Iliad XV 362-64) and, on the other, the range of Nietzsche’s uses of the simile.

In De Anima 1.4, Aristotle asks whether the soul can be moved by its own affections. His conclusion—that to say the soul grows angry is like saying that it weaves and builds—has traditionally been read on the assumption that it is false to credit the soul with weaving and building; I argue that Aristotle’s analysis of psychological motions implies his belief that the soul does in fact weave and build.

Do the early Greek poets and thinkers really “play” with their language? What sort of “play” should we expect from part of the professional craftsmen they were of a basically sound language? What did imply their awareness of the phono-syllabic nature of Greek language? And what about Heraclitus in particular, who is most concerned among them with the intrinsic virtues of Greek discourse (λόγος)? An analysis of fr. 22 B 52 DK within the melodic and sonic state of archaic Greek (...) language reveals, instead of “play of words”, a rather spontaneous phenomenon of phono-syllabic generation, that is as necessary for the political message of Heraclitus’ fragment as the meaning of each of its words and their superficial syntactic organization. (shrink)

Cet article est consacré au fragment B23 d’Empédocle, où l’auteur met en relation la génération des espèces vivantes à partir des quatre éléments avec l’art pictural dont les productions résultent des divers mélanges d’un nombre limité de pigments. La première partie aborde la dimension heuristique de l’analogie dans le cadre du récit cosmologique, notamment la question de la correspondance entre comparans et comparandum. À l’intérieur de cette relation, un problème grammatical et théorique retient mon attention : alors que le sujet (...) et les verbes du fragment sont au pluriel, les procédés des peintres sont exprimés par des participes au duel. Ces duels ont souvent été interprétés comme des allusions aux deux puissances cosmiques d’Empédocle, l’Amour et la Haine. Prenant appui sur l’interprétation récente du cycle cosmique donnée par Oliver Primavesi, selon laquelle même dans la période où la Haine domine, l’Amour reste le principe de production des espèces mortelles, je propose d’interpréter les duels comme une allusion aux mains de Cypris, l’une des personnifications du pouvoir démiurgique de l’Amour. En ce sens, la lecture que je propose ici de l’analogie s’avère compatible avec les deux courants interprétatifs principaux de la zoogonie d’Empédocle (unique/double). Dans la deuxième partie de l’article, j’analyse l’écart réflexif que l’analogie des peintres introduit par rapport à deux formes de discours contemporaines d’Empédocle qui thématisent la question de la représentation : d’une part, la tradition lyrique, notamment Simonide et Pindare ; de l’autre, le poème philosophique de Parménide. (shrink)

Questo articolo presenta un quadro dei problemi che il frammento B85DK di Eraclito solleva e delle interpretazioni antiche e moderne che sono state suggerite. In particolare, è esaminata la testimonianza di Aristotele, la più antica e anche la più profonda e articolata. Una panoramica sui significati di thumos, punto centrale del frammento, mostra che per Aristotele questo concetto non si esaurisce nel pathos dell’ira. Il thumos è in primo luogo una dunamis, una facoltà dell’anima che rende possibile non solo il (...) pathos, l’affezione passeggera dell’ira, ma anche il coraggio, l’impulsività, l’affetto, il senso della libertà e dell’autorità. Questa nozione aristotelica, così ricca e polimorfica da sottrarsi a una traduzione unica esaustiva, proviene in realtà dalla sistematizzazione di un materiale molto antico, omerico e presocratico, legato ai proverbi. Eraclito stesso ne offre già una formulazione che sintetizza due aspetti che Aristotele accoglie e sottolinea: la forza irresistibile e inarrestabile dello slancio impulsivo naturale, una volta che sia stato innescato, e l'estrema conseguenza a cui puo' portare, e cioè la perdita della vita stessa. (shrink)

Dans cet article je propose un examen de la lecture traditionnelle du fr. B3 de Parménide (τὸ γὰρ αὐτὸ νοεῖν ἐστίν τε καὶ εἶναι), qui suppose une « identité » forte entre penser et être, pour lui préférer l’hypothèse d’une « correspondance » de ce qui est pensable et de ce qui est. Ces considérations me conduisent a défendre une traduction du fr. B3, qui me paraît la moins anachronique: « c’est en effet une seule et même chose que l’on (...) pense et qui est ». Je m’interroge ensuite sur le sens du verbe νοεῖν et des termes apparentés dans le Poème de Parménide (particulièrement dans le fr. B4). Je présente trois options d’interprétation du νοεῖν : 1. comme connaissance purement intellectuelle de l’être vrai (c’est à dire de l’intelligible) ; 2. comme connaissance discursive ou « véritative » qui concerne donc la vérité ou la fausseté d’une proposition ; 3. comme capacité de « réaliser une situation », de « reconnaître » quelque chose ou quelqu’un, en supposant un sens d’« être » qui vise la simple constatation de l’être des choses et du monde sensible. (shrink)

I argue in this paper that the formulation of the eristic paradox in Plato’s Meno (80d5-e5) echoes Xenophanes’ Frg. 34, by drawing attention to a number of significant similarities of expression and to equally significant points of theoretical tension between the two texts. Bringing into focus such further authors as Protagoras, Gorgias, and Metrodorus of Chius, I claim that Xenophanes’ epistemological option was central to the philosophical debate in the Sophistic milieu, and that here started a “pre-skeptical” reading of Frg. (...) 34, which was to affect Plato’s. (shrink)

In fragment B 12 Anaxagoras asserted: ‘And [Mind] has every gnômê concerning everything and is strong to the greatest degree.’ The definitions of gnômê given in the standard Greek lexicon cover a wide range: ‘mark’, ‘token’, ‘intelligence’, ‘thought’, ‘judgment’, ‘understanding’, ‘attention’, ‘conscience’, ‘reason’, ‘will’, ‘disposition’, ‘inclination’, ‘purpose’, ‘initiative’, ‘opinion’, ‘verdict’, ‘decision’, ‘proposition’, ‘resolution’, ‘advice’, and ‘maxim’. Taking a clue from the assonance of ischei (has) with ischuei (is strong), it would be natural to take both parts of the assertion to (...) be concerned with the extent of Mind’s strength, and this would suggest the translation: ‘for it holds every decision concerning everything and (thereby) has the greatest strength’. So understood, both parts of the assertion would be reinforcing Anaxagoras’ basic claim that Mind ‘rules over’ (kratein) everything. Thus, what Anaxagoras’ cosmic nous does is provide just the kind of intelligent oversight nous typically provides in early Greek poetry and philosophy. (shrink)

This essay provides a comprehensive and detailed analysis of a cluster of Heraclitus’ fragments that revolve around an image of ‘musical’ harmony (B 8, 10, and 51 Diels-Kranz). The aim is to demonstrate that more numerous as well as more specific references to contemporary musical practice can be found in these fragments than is usually thought. In particular, it is argued that in his talk of cosmic harmonia Heraclitus might well know and exploit a musical sense of this word, namely, (...) that of ‘attunement’, which was already developing at his time from the primary meaning of ‘connection’ and ‘agreement’. Furthermore, it is shown that the investigation of musical patterns with which Heraclitus was clearly acquainted offered him a significant analogical ground for his reflection on the order and rationality of kosmos. He was not apparently interested in the numerical definition of musical patterns, and thus there is no need to assume any influence of earlier Pythagorean research on his theory of cosmic harmony: the other way round, this theory was likely food for thought for Philolaus. (shrink)

El presente trabajo recoge algunas consideraciones acerca de la significación y el valor teorético del Περὶ Πολιτείαν. En la primera parte del trabajo se revisan las implicancias teoréticas del texto y su contexto. La segunda parte presenta el texto original del Περὶ Πολιτείαν y una nueva traducción castellana lineal.