This paper examines the phenomenon of individual Athenians adopting elements of Persian clothing, making use of exotic items such as gold and silver drinking vessels, and the like, by comparison to what I argue is a similar sort of contact and exchange involving the European fabric trade and evolving standards of dress and fashion in the Early Modern Atlantic. The ancient literary and archaeological sources discussed document the reaction of a relatively insignificant, marginal people to the dress practices of a (...) more powerful and arguably far more sophisticated imperial power. I suggest that an appreciation of the character and intentions of the much better documented encounter between the English court and Amerindian ambassadors who visited it in the early 18th century provides a potentially useful corrective to the indigenous perspective of our Athenian sources. (shrink)

So far am I from rejecting the use of what has been well stated by others, that I would wish that everyone said the same things about the same things and, as Socrates puts it, in the same words, and then there would be no undisputed quarrelling among men about the matters at hand.

In 1977, French excavations at Aï Khanoum in north-east Afghanistan—a foundation of Antiochus I Sotēr and subsequently one of the major cities of the Greco-Bactrian kingdom—of a building dating to shortly before the destruction of the place in 145 b.c.e. uncovered inter alia the remains of a papyrus and a parchment document. The papyrus text, dated by Cavallo on the basis of its letterforms to the mid third century b.c.e., preserved a fragment of a philosophical dialogue seemingly to be associated (...) with the Peripatetic school. The second document consisted of two separate portions of a piece of parchment roughly assigned on the basis of its letterforms to the second half of the third or the first half of the second century b.c.e.; as also in the case of the papyrus, the letters survived not on the parchment itself but impressed upon the hardened dirt that surrounded it. Only column II of the original editors’ ‘Texte 2a’ contains a significant amount of text, which appears in neither TrGF nor PCG. I present it here without regard to standard editorial niceties, which are rendered impossible by the desperate state of the original document, now almost certainly lost, and the nature of the original publication. (shrink)

The staging of Aristophanes' Ecclesiazusae is complicated considerably by the large number of individual male citizen parts in the play. These include Praxagora's husband Blepyrus, Blepyrus' anonymous Neighbour and his friend Chremes, the First Citizen and the Second Citizen, the Young Man ‘Epigenes’, and the δεσπτης who leads out the Chorus. These are not necesarily all independent characters, but the great difficulty with the play is in deciding precisely who is to be identified with whom. R. G. Ussher, the most (...) recent Oxford editor of the text, distinguishes four separate characters, and divides the parts in the following way. (shrink)

Over sixty years ago, Walter Headlam identified Ecclesiazusae 960–76 as a paraclausithyron, or song sung by an excluded lover from the street to his beloved within. In 1958, however, C. M. Bowra suggested that the whole of Eccl. 952–75 was actually the sole surviving example of a previously unrecognized genre of Greek lyric poetry, the informal love duet. The thesis has been widely accepted, and is adopted by Rossi, Henderson and Silk, as well as by the Oxford editor, Ussher, who (...) rejects Headlam's identification explicitly. Only Zimmermann has failed to embrace Bowra's interpretation wholeheartedly, although he offers no detailed discussion of the passage. In fact, Eccl. 952–75 is not evidence for a lost lyric genre, but a sophisticated literary parody, carefully designed as an elaborate poetic comment on the larger action of the play in which it appears. Bowra's ‘love duet’ is a critical fantasy, whose fictional existence only serves to obscure the real purposes and humour of this Aristophanic love-song. (shrink)

Aristophanes' Peace is preserved in ten manuscripts, the oldest and most complete of which are the tenth-century Ravennas 429 and the eleventh-century Venetus Marcianus 474 . A third manuscript, Venetus Marcianus 475 , is almost certainly a direct copy of V and can therefore be eliminated. The seven remaining manuscripts of the play, along with the Aldine edition of 1498, share numerous variant readings, as well as lacunae at 948–1011 and 1076b, and can accordingly be described as a family. As (...) I will argue in detail below, the stemmatic relationship among the members of this family can be most economically represented as shown in Figure 1. (shrink)

This article examines a number of key terms in Pollux’ discussion of the anatomy of the human spine as a way of assessing both his reliability in regard to technical language of all sorts and the relative strengths and weaknesses of two major representatives of the modern philological and lexicographic tradition, the Liddell–Scott–Jones Greek-English Lexicon and the new Brill Dictionary of Ancient Greek.

At Aristophanes, Equites 230–2, one of the slaves who speak the prologue informs the audience that, when the Paphlagonian appears onstage, his mask will not resemble him, for the σκεoπoιoí were afraid to make one that depicted him accurately. In an important article, K. J. Dover argued that it must in fact have been very difficult to create easily recognizable portrait-masks, and suggested that the joke in Eq. 230–2 may be that the Paphlagonian's mask is horribly ugly but allegedly still (...) nowhere near ugly enough. In response, D. Welsh, following an anonymous ancient commentator on Lucian, argued that Cratinus fr. 228 K-A shows that the historical Kleon had strikingly unattractive eyebrows. Had anyone wished to caricature the demagogue's physical appearance, therefore, he coule easily have done so, and portrait-masks may not have been so uncommon after all. Welsh's argument is at first glance quite appealing, and has been endorsed without further comment or argument by Sommerstein and Storey. I suggest, however, that the ancient commentator was confused, and that Cratinus’ remark is much more easily explained by reference to what is known about the use of facial expression as a communicative strategy in classical and early Hellenistic Athens, particularly as it appears in the comic poets. Kleon's eyebrows were probably no more ugly than those of anyone else, although he may have used them in an offensive way, and as Dover saw long ago, Eq. 230–2 cannot be taken as evidence for the use of portrait-masks on the late 5th-century comic stage. (shrink)

According to the manuscripts of On the Crown, Demosthenes mockingly claims that, as the youthful Aeschines led processions in his mother's mystery-cult celebrations, he was hailed by various old women as ἔξαρχος καὶ προηγεμὼν καὶ κιττοφόρος καὶ λικνοφόρος καὶ τοιαῦθ’. Τhese are clearly special titles—Aeschines is not just one celebrant among many but a leading figure in the train of worshippers—and recent editors accordingly note that κιττοφόρος seems weak and follow Albert Rubens in printing instead κιστοφόρος, which Harpocration reports was (...) read by some authorities here. κιστοφόρος appears to be supported by ΣF2 18.260 ὁ φέρων τὰς κίστας, which is easily taken to confirm that Demosthenes meant that Aeschines stood out in the crowd of celebrants inter alia because he carried containers within which must have been sacred implements of some sort. (shrink)

LSJ s.v. A defines ἀληθινός as meaning ‘truthful, trusty’ of persons and ‘true, genuine’ of objects, and offers Amphis, fr. 26 as an example of the second sense:ὅστις ἀγοράζων ὄψον ἐξὸν ἀπολαύειν ἰχθύων ἀληθινῶνῥαφανῖδας ἐπιθυμεῖ πρίασθαι, μαίνεταιAnyone who, when shopping for dainties …wants to purchase radishes, when he has a chanceto enjoy alêthinoi fish, is crazy.The context of the fragment is unknown. But the speaker is patently drawing a contrast not between ‘real fish’ and something that resembles fish, as LSJ (...) would have it, but between a type of fish that any sensible person would buy for dinner, should the opportunity arise, and radishes, which are edible but unexciting fare. So too at Macho 28–32, when King Ptolemy's guests were served a variegated rockfish, three κωβιοί cut into steaks, and καράβων … ἀληθινῶν —literally ‘real crayfish’—they were astonished and delighted. The reaction suggests that the banqueters were happy because the crayfish Ptolemy served matched the quality of the other seafood he set before them, not because the king had declined to deceive them. (shrink)

ἔγωγε νὴ τοὺς κονδύλους, οὓς πολλὰ δὴ ᾽πὶ πολλοῖςἠνεσχόμην ἐκ παιδίου, μαχαιρίδων τε πληγάς.

One of the ironies of literary history is that the survival of Aristophanic comedy and indeed of all Greek drama is due to the more or less faithful transmission of a written text. Reading a play and watching one, after all, are very different sorts of activities. Unlike a book, in which the reader can leaf backward for reminders of what has already happened or forward for information about what is to come, a play onstage can be experienced in one (...) direction only, from ‘beginning’ to ‘end’. Nor can a play be put down and picked up again at one's leisure or interrupted while the audience puzzles over a difficult or intriguing passage. Live theatre is an ephemeral and essentially independent thing, which must be experienced in its own time and on its own terms or not at all, and as a result we modern readers, dependent on the written page, are at a marked disadvantage in understanding ancient drama. Taplin's study of staging in Aeschylus has shed considerable light on the dramatic technique of Athenian tragedy. Stage-practice in Aristophanic comedy, and in particular the ways in which names and naming are used there, has received much less attention. (shrink)

πέπλους τε νῆσαι λινογενεῖς τ’ ἐπενδύταςτε νῆσαιCanter: τε νίσαιPoll.A: τάνυσαιPoll.FSnêsaimantles and outer garments born of flaxGreek has three verbs νέω: ‘swim’, ‘spin’ and ‘heap up, pile’. The aorist infinitive of both and is νῆσαι. LSJ takes Sophocles, fr. 439 R. to be an instance of νέω. Pearson comments: ‘νῆσαι is loosely used for ὑϕαίνειν. The process of spinning, being preparatory to that of weaving, was apt to be regarded as part of the same operation rather than as a distinct art (...) … Soph. probably had in mind η 96 πέπλοι | λεπτοὶ ἐΰννητοι βεβλήατο, ἔργα γυναικῶν’. Lloyd-Jones accordingly translates the fragment ‘to weave robes and tunics made of linen’. (shrink)

The scholia to Wasps gloss τραχήλια variously as τὰ ἄκρα καὶ τὰ εὐτελῆ κρέα , τὰ ἀποβαλλόμενα τῶν ὄψων , ὀστράκιόν τι βραχὺ τελέως , and εὐτελὲς προσόψημα ἐν λοπαδίσκοις σκευαζόμενον . These might all be guesses, but the absence of the definite article in the original text shows that Bdelycleon's reference is to something more generic than ‘the backbones’ in the next verse. The ancient commentators were thus probably right not to interpret the word ‘bits of neck’, vel sim., (...) as if this were a diminutive of τράχηλος . Instead, these must be ‘tail-ends’ of food, scraps and leftovers of a sort that might be fed to a dog; compare Hippocrates, Epidemiae 7.62 , where βόεια τραχήλια are mentioned along with ham as part of the diet of a man recovering from illness. (shrink)

in memory of Eric HandleyDicaeopolis brushes the informer aside and closes his deal with the starving Megarian: ΔΙ. … λαβὲ ταυτὶ τὰ σκόροδα καὶ τοὺς ἅλαςκαὶ χαῖρε πόλλ’. ΜΕ. ἀλλ’ ἁμὶν οὐκ ἐπιχώριον.ΔΙ. πολυπραγμοσύνη νῦν ἐς κεϕαλὴν τράποιτ’ ἐμοί. 833 Even before Douglas Olson's thorough study of the tradition in his commentary on Acharnians it was clear that the oldest manuscript, R, has as much weight as the agreement of the others that editors report. In 833 it reads (...) πολυπραγμοσύνη, the others –σύνης. A scholion runs λείπει τὸ ἕνεκα, ἕνεκα τῆς πολυπραγμοσύνης, plainly written for a text that had –σύνης, which is also the lemma in one manuscript; the lemma in the other that has one is –σύνῃσιν. It has not been shown, however, either that this scholion is ancient or that its agreement with all the manuscripts but R overrides the testimony of R. As regards attestation, therefore, the tradition offers two readings of equal weight, or three if –σύνῃσιν is taken to be a relic of a text different from the one that prompted the scholion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aristophanes: ThesmophoriazusaeElizabeth W. ScharffenbergerColin Austin and S. Douglas Olson, eds. Aristophanes: Thesmophoriazusae. With intro. and comm. Oxford: Oxford University Press, 2004. cviii + 363 pp. 2 color plates. Cloth, $195.This long-awaited edition of Thesmophoriazusae is a welcome newcomer to the Oxford University Press series of commentaries on the comedies of Aristophanes. Colin Austin and S. Douglas Olson have collaborated to produce a generous work (...) of scholarship that offers a comprehensive perspective on this Aristophanic comedy, which playfully imagines the tragedian Euripides and his kinsman-by-marriage (the "Inlaw") fighting for their lives as they seek to allay the wrath of the matrons of Athens, who have been angered by Euripides' representations of female characters, during an annual women's festival (the Thesmophoria) honoring Demeter and Persephone. The volume offers a new and carefully edited text, which incorporates emendations that Austin has already proposed in separately published articles, and an informative apparatus criticus. On every page of the text there is a second apparatus (standard in Oxford University Press's recently published editions of Aristophanes) that indicates where words and verses are cited in the works of later authors (e.g., Philostratus, Lucian) and [End Page 140] in ancient and medieval lexica (e.g., Hesychius, the Suda). The introduction and meticulously detailed commentary supply extensive information about the comedy, the circumstances of its original production in 411 b.c.e., its relationship to other Aristophanic dramas, the history of its transmission, and a host of related topics. A bibliography, two indices (one for Greek words and one for general references), and two color plates of the Würzburg krater, representing the comedy's parody of Euripides' Telephus, complete the volume. Students and scholars with a variety of interests and needs will find this edition of Thesmophoriazusae most useful. Thanks to its editors' erudition and the thoughtfulness of their presentation, it is also a pleasure to read.In the introduction's summary of Thesmophoriazusae's manuscript tradition (lxxxix-xcviii), the survey of the most frequent errors in Ravennas 429 ("R," the tenth-century manuscript that is the only independent witness for its complete text) permits readers to get a sense of the kinds of emendations that have become common property in most of the editions published since the Renaissance. These conventional emendations aside, Thesmophoriazusae's text still leaves much room for editorial discretion, which Austin and Olson always exercise judiciously (even if one disagrees on occasion with their choices). Most importantly, a keen appreciation of Aristophanes' humor consistently informs their decisions concerning emendation, as is revealed by the interpretations of the jokes in 12 (defending the verse against deletion), 232 (retaining R's α), 242 (retaining R's and accepting Medaglia's restoration of ), 912 (retaining R's ), and 1094 (accepting Brunck's supplement ). They are also guided by the concern for making the text square with fifth-century Attic usage: see, e.g., the restoration of (for ) to 758-59 and the preferences for (over the transmitted v) in 173 and 478 and for (over the transmitted ) in 554.An unusual textual feature in this comedy—and an editorial challenge—is the pidgin-Greek spoken by the Scythian archer who guards the captured Inlaw in 1001-1225. Austin and Olson print his part without accents because, as they explain in the commentary's note on these verses (which also supplies a helpful list of the idiosyncrasies in his speech), "he must consistently have got [the accents] wrong" (308). Other editorial decisions (e.g., Austin's for R's unmetrical in 1088) bear out the editors' perception of the Scythian as a consistently bad speaker of Greek (325, n. on 1087-89).The comedy's lyric passages arguably present its thorniest set of editorial challenges. Most of the songs are marked by complexities in their rhythmic patterns; there is relatively little strophic responsion, and the two showcased parodies of tragic lyric (Agathon's song in 101-29 and the Inlaw's reworking of Andromeda's lament in 1015-55) feature elaborate polymetry that additionally complicates the tasks of interpreting and editing. Austin and Olson generally concur with the colometry and analysis of Thesmophoriazusae's songs that L. P... (shrink)

In redefining logic, philosophers need to go back to the Aristotelian roots of the subject, to expand the boundaries of the subject to include informal logic and to give up false oppositions between informal and formal logic.

Can thought arise out of matter? Can self, soul, consciousness, “I” arise out of mere matter? If it cannot, then how can you or I be here? I Am a Strange Loop argues that the key to understanding selves and consciousness is the “strange loop”—a special kind of abstract feedback loop inhabiting our brains. The most central and complex symbol in your brain is the one called “I.” The “I” is the nexus in our brain, one of many symbols seeming (...) to have free will and to have gained the paradoxical ability to push particles around, rather than the reverse. How can a mysterious abstraction be real—or is our “I” merely a convenient fiction? Does an “I” exert genuine power over the particles in our brain, or is it helplessly pushed around by the laws of physics? These are the mysteries tackled in I Am a Strange Loop, Douglas Hofstadter's first book-length journey into philosophy since Gödel, Escher, Bach. Compulsively readable and endlessly thought-provoking, this is a moving and profound inquiry into the nature of mind. (shrink)

Several diagrams and tables from review articles during the Ox-Phos Controversy serve as an occasion to assess the nature of competition in models of theory choice in science. Many models follow "Super-Bowl" principles of polar, either-or, winner-take-all competition. A significant alternative highlighted by this episode, however, is the differentiation of domains. Incommensurability and the partial divergence of overlapping domains serve both as signals and context for shifting frameworks of competition. Appropriate strategies may thus help researchers diagnose the status of competition (...) and shape their research accordingly. (shrink)

The aim of this paper is to make it clear how and why begging the question should be seen as a pragmatic fallacy which can only be properly evaluated in a context of dialogue. Included in the paper is a review of the contemporary literature on begging the question that shows the gradual emergence over the past twenty years or so of the dialectical conception of this fallacy. A second aim of the paper is to investigate a number of general (...) problems raised by the pragmatic framework. (shrink)

Analysis and case studies show that including different orientations toward the natural world makes for more effective scientific practice and science education.

In this paper, I try to make a bundle theory of objects consistentwith a temporal parts theory of object persistence. To that end,I propose that such bundles are made up of tropes includingthe co-instantiation relation.

Dual-ranking act-consequentialism (DRAC) is a rather peculiar version of act-consequentialism. Unlike more traditional forms of act-consequentialism, DRAC doesn’t take the deontic status of an action to be a function of some evaluative ranking of outcomes. Rather, it takes the deontic status of an action to be a function of some non-evaluative ranking that is in turn a function of two auxiliary rankings that are evaluative. I argue that DRAC is promising in that it can accommodate certain features of commonsense morality (...) that no single-ranking version of act-consequentialism can: supererogation, agent-centered options, and the self-other asymmetry. I also defend DRAC against three objections: (1) that its dual-ranking structure is ad hoc, (2) that it denies (putatively implausibly) that it is always permissible to make self-sacrifices that don’t make things worse for others, and (3) that it violates certain axioms of expected utility theory, viz., transitivity and independence. (shrink)

I highlight a category of experiment-what I am calling 'demonstrations'-that differs in justificatory mode and argumentative role from the more familiar 'crucial tests'. 'Tests' are constructed such that alternative results are equally and symmetrically informative; they help discriminate between alternative solutions within a problem-field, where questions are shared. 'Demonstrations' are notably asymmetrical (for example, "failures" are often not telling), yet they are effective, if not "crucial," in interparadigm dispute, to legitimate questions themselves. The Ox-Phos Controversy in bioenergetics serves as an (...) integral case study. (shrink)

This chapter contains sections titled: A Method of Inquiry Doubt, Intuition, and Certainty Peirce's Reconstruction of the “method for guiding one's reason” A Transformed Ontology.