Review of Cristina Gavriluţă , The Everyday Sacred. Symbols, Rituals, Mythologies , (Saarbrucken, Germany: Lap Lambert Academic Publishing, 2013). Review of Nicu Gavriluţă, Sociologia religiilor. Credinţe, ritualuri, ideologii (The sociology of religions. Beliefs, rituals, ideologies), (Iași: Polirom, 2013).

The linear model often serves as a starting point for applying statistics in psychology. Often, formal training beyond the linear model is limited, creating a potential pedagogical gap because of the pervasiveness of data non-normality. We reviewed 61 recently published undergraduate and graduate textbooks on introductory statistics and the linear model, focusing on their treatment of non-normality. This review identified at least eight distinct methods suggested to address non-normality, which we organize into a new taxonomy according to whether the approach: (...) (a) remains within the linear model, (b) changes the data, and (c) treats normality as informative or as a nuisance. Because textbook coverage of these methods was often cursory, and methodological papers introducing these approaches are usually inaccessible to non-statisticians, this review is designed to be the happy medium. We provide a relatively non-technical review of advanced methods which can address non-normality (and heteroscedasticity), thereby serving a starting point to promote best practice in the application of the linear model. We also present three empirical examples to highlight distinctions between these methods' motivations and results. The paper also reviews the current state of methodological research in addressing non-normality within the linear modeling framework. It is anticipated that our taxonomy will provide a useful overview and starting place for researchers interested in extending their knowledge in approaches developed to address non-normality from the perspective of the linear model. (shrink)

Octavia Butler’s novels Parable of the Sower and Parable of the Talents imaginatively extend the conditions of 1990s California: ecological disaster, economic devastation, and degradation of the public sphere.1 The novel’s main character, Lauren Olamina, invents a utopian alternative: a religion that works toward noneugenic human biological evolution. Biological changes are invited, rather than designed, through “the Destiny”: moving humans to new planets. Given the failures of this project throughout the novels—not to mention the evils of characters in her (...) other novels—scholars of utopian studies debate whether Butler’s work is “genuinely utopian.” Some suggest that Butler’s picture of the human.. (shrink)

Octavia Butler depicts a character with physical or mental disability in each of her works. Yet scholars hesitate to discuss her work in terms that emphasize the intersection with disability. Two salient questions arise: How might it change Butler scholarship if we situated intersectional embodied experience as a central locus for understanding her work? Once we privilege such intersectionality, how might this transform our understanding of the aesthetics of the novel? In this paper, I reorient the criticism of Butler's (...) work such that disability becomes one of the social categories under consideration. I read two prominent analyses of Butler's work because their interpretations—black feminist in orientation—centralize black female identity as a category of analysis. I contend these analyses grapple with ideas that can only be fully understood with disability as an integral portion of the discussion. Since categories of analysis like race, disability, and gender require and create cultural tropes and challenge accepted forms, I outline three components of Butler's aesthetic: open-ended conclusions that frustrate the narrative cohesion associated with the novel form, intricate depictions of power that potentially alienate the able-bodied reader, and contained literary chaos that upends the idea of ontological fixity. (shrink)

TheOctaviais, on the face of it, one of the most bizarre documents which have reached us from antiquity. If the news of its discovery had broken yesterday, there would certainly have been a sensation at the bare idea, whatever the literary merits of the work. A few years ago the publication of a 15-line fragment of a Greek play about Gyges caused discussion enough; but here we have acompleteRoman historical play, unlike any other ancient play in structure, featuring Nero, (...) class='Hi'>Octavia, Poppaea, Seneca. …. (shrink)

Octavia E. Butler was notoriously skeptical of utopian science fiction, and though she desired very much to write it, she found herself unable to do so "because I don't believe imperfect humans can form a perfect society."1 In interviews and in practice through her fiction Butler rejected the possibility of an ideal society and instead found her way to what Jim Miller has called "a post-apocalyptic hoping informed by the lessons of the past."2 This is to say that, as (...) a black woman science-fiction writer who had witnessed the pains of systemic racism, patriarchy, and oppressive violence against the communities to which she belonged, and who was particularly affected by the Religious Right–backed racist and classist... (shrink)

One of Octavia Butler’s common sites of exploration concerns the impact of parenting on her main characters. She appeared to locate reproduction and child-rearing as parts of human life with great potentials for transformed futures. From a perspective of intergenerational survival, that hope appears perfectly reasonable. In this letter to Butler, I put the goal of intergenerational survival into question as an existential mandate by querying its relationship to gestative capture. Gestative capture here refers to the ready capacity to (...) reduce an existent to immanence via their abilities to gestate ‘human’ or ‘human-like’ progeny. The conversation this letter stages with Butler and her work, which is only possible because of how clearly Butler understood gestative capture and how much she built it into her stories, asks the questions: What is ‘transcendence’ for Black women who can bear children? How ought we to imagine intergenerational survival? And when, if ever, should we put down ‘survival at all costs’ commitments? (shrink)

At 876ff. Octavia's partisans lament the ruinous intervention of the Roman mob in support of the heroine's legitimate claims against Poppaea. A series of paradigmatic figures illustrates the sentence ‘o funestus multis populi dirusque fauor’: the two Gracchi, first, then Livius Drusus, thetribunus plebisof 91 B.C., stabbed to death in his house in the year of his tribunate. The gallery of historical characters suits the Roman atmosphere of the play, the fallen heroes of Republican times are presented as noble (...) and disinterested figures, struck by disaster and evil fortune. This is the description of Livius' fate (887–90; text and colometry given as in Zwierlein's OCT). (shrink)

Using Octavia Butler’s Kindred as both ground and frame, this paper develops a notion of mangrove time as a way to think through how blackness is lived in the violent temporality of anti-blackness. Specifically, I want to suggest that, through the frame of mangrove time, an errant relationship between lived blackness and its black past inserts temporal possibility in and beyond the inertia of white supremacy’s violently anti-black temporality. In other words, contrary to Fanon’s proclamation that only black abjection (...) is to be found in a return to the past of lived blackness, I show that, out of a mangroved conception of temporality, linkages to a black past becomes more than the ontological weight at the core of Fanon’s notion of a historico-racial schema. In foregrounding his own linkage to the past, Fanon’s historico-racial schema determines the past as fixed under the weight of an anti-black time. However, mangrove time recalls what is perhaps hastily forgotten under this schema, which is that, even as lived blackness arrives on the scene of an anti-black imaginary “too late”, it is still able to ‘time travel’ – to zigzag between present and past in a way that rescues lived blackness from the structural determination of its past. As mangroved, this temporality is still one of pain, amputation and fragmentation. But it is also one that opens up this temporality to “imaginative variability”. (shrink)

The contribution of Octavia Butler's fiction to utopian studies is becoming more widely recognized, particularly in the wake of a special issue of Utopian Studies (vol. 19, no. 3) devoted to her work. The Parable of the Sower and Parable of the Talents provide an especially effective exploration of perennial issues in political philosophy, cultural studies, and psychology.1 Civil society and the cultural norms that underlay social and political institutions have crumbled. Crime, violence, and addiction are rampant. Environmental degradation (...) and economic collapse have pushed most to roam about the country searching for food, while others take refuge in walled compounds run by corporations whose power is unchecked. .. (shrink)

As the Octavia replays a moment in Rome’s recent history—the struggle to see which Caesar would outlast the rest—its characters simultaneously replay a crucial struggle from the Julio-Claudians’ rise to power: the civil war between Pompey the Great and Julius Caesar. The Octavia ’s allusive language recasts its Neronian characters as the Republic’s leading generals, turning strife within the imperial family into a civil war that threatens to engulf the Roman world once more. The play thus challenges the (...) predominant cultural memories of peace fostered by the Julio-Claudian dynasty and promotes instead a counter-memory rooted in civil strife. (shrink)

The question of how to exist, to dwell, within one’s physical and psychological home has become an urgent one in an increasingly globalized world. Yet the answer to this question has never been more fleeting. Lacking universal political or sociological narratives in what can be oversimplified as a post-colonial or post-modern milieu, reformulating the question of how one dwells within one’s home has become both relevant and essential. This essay explores a return to the question of how one dwells, not (...) in pursuit of a theoretical harmonizing answer, but to reevaluate how the question is generally framed—a return to the foundation of how one exists, or more precisely, how a one exists. Through Martin Heidegger’s essay on dwelling and Michel Foucault’s understanding of history as power, my reading of two works of modern fiction captures the struggles of subjects attempting to define their place in the world. Examining how the protagonists of Octavia Butler’s Kindred and Paul Beatty’s The Sellout dwell within their homes provides much insight into how race, identity, and history impact dwelling in a global age. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:510 Feminist Studies 46, no. 2. © 2020 by Feminist Studies, Inc. Shelley Streeby Speculative Writing, Art, and World-Making in the Wake of Octavia E. Butler as Feminist Theory The late great speculative fiction writer Octavia E. Butler often referred to herself as a feminist. In an autobiographical note she revised frequently over the course of her lifetime, now held in the massive archive of more than (...) 8,000 individually cataloged items that comprise The Octavia E. Butler Papers (OEB) at the Huntington Library in San Marino, California, Butler called herself a “hermit in the middle of Los Angeles,” a pessimist when she wasn’t “careful,” and “a feminist” as well as “a Black” and “a former Baptist.”1 Throughout her published work, Butler explores intersections of gender, sexuality, race, and class in ways shaped by her life growing up “black, female, and working class” across town in Pasadena, California.2 The keywords “feminism” and “feminist” pop up often in her archive. In 1988, in one of dozens of notebooks Butler filled with writing, she proudly claimed to be writing “true cross-over science fiction ” that reached both science fiction and general audiences, “encompassing feminists and blacks as well,” a claim she often repeated.3 The thousands of clippings Butler kept and annotated on subjects of interest to her included many on feminism, which she organized to emphasize 1. OEB, Folder 95. The OEB collection organized by Curator Natalie Russell, who authored the finding aid. 2. OEB, Folder 3093. 3. OEB, Folder 3239, November 9, 1988. 511 Shelley Streeby Books Discussed in This Essay Migrant Futures: Decolonizing Speculation in Financial Times. Aimee Bahng. Durham, NC: Duke University Press, 2018. Queer Feminist Science Studies: A Reader. Edited by Cyd Cipolla, Kristina Gupta, David A. Rubin, and Angela Willey. Seattle: University of Washington Press, 2017. Emergent Strategy: Shaping Change, Shaping Worlds. adrienne maree brown. Oakland, CA: AK Press, 2017. Octavia’s Brood: Science Fiction Stories from Social Justice Movements. Edited by adrienne maree brown and Walidah Imarisha. Oakland, CA: AK Press, 2015. Radio Imagination: Artists and Writers in the Archive of Octavia E. Butler. Edited by Janet Duckworth and Savanah Wood. Los Angeles: Clockshop, 2018. M Archive: After the End of the World. Alexis Pauline Gumbs. Durham, NC: Duke University Press, 2017. Angels with Dirty Faces: Three Stories of Crime, Prison, and Redemption. Walidah Imarisha. Oakland, CA: AK Press, 2016. Old Futures: Speculative Fiction and Queer Possibility. Alexis Lothian. New York: New York University Press, 2018. Bodyminds Reimagined: (Dis)ability, Race, and Gender in Black Women’s Speculative Fiction. Sami Schalk. Durham, NC: Duke University Press, 2018. intersections among feminist and other struggles. A 1991 piece by Black syndicated columnist Clarence Page, for instance, called “The F. Word to Watch For: Feminists,” which was written in the wake of the HillThomas hearings and speculated that the Bush administration would demonize “feminists” as a “smoke screen” for “real economic problems,” 512 Shelley Streeby was filed under “Economy.”4 Much of the archival material and fiction that Butler produced relevant to the keyword “feminism” addresses intersections of gender, sexuality, race, and class in right-wing projects of the neoliberal era, from the 1970s through the early 2000s. As both a pejorative epithet used by the right to demonize women who deviated from patriarchally defined gender and sex roles as well as a term she counter-valued by claiming it for herself, intersectional “feminism” was central to Butler’s speculative collecting, research, and fiction-writing. Since her untimely death in 2006, Butler’s fame continues to grow as new generations embrace her work, since it speaks to our present in powerful ways. Butler rejected narrow genre categories and was ambivalent about the term “science fiction” as a descriptor for her writing, often expressing frustration with marketing categories and wondering if they stood in the way of reaching a wider audience. The umbrella term “speculative ” is useful both for recognizing the boundary-crossing dimensions of Butler’s writing, in its defiance of narrow definitions of genre, and for describing Butler’s contributions to feminist theories of knowledge production, political leadership, and imagining the future. Since Butler’s archive at the Huntington opened to researchers in 2013... (shrink)

The long-awaited publication of Otto Zwierlein's edition of Seneca's Tragedies provides a welcome opportunity to present a few observations on the penultimate scene of pseudo-Seneca's Octavia . The scene in question features Nero quarrelling with his Guard Prefect over the fate of the Empress Octavia. In this altercation there are three textual points which have for long been in dispute. The first section of the article is concerned with these, favouring an emendation discarded in the new Oxford edition, (...) but questioning two of the verse divisions suggested or adopted by Zwierlein. (shrink)

This article examines the critical work of Octavia Butler’s speculative fiction novel Dawn, which follows Lilith Ayapo, a black American woman who is rescued by an alien species after a nuclear war destroys nearly all life on Earth. Lilith awakens 250 years later and learns that the aliens have tasked her with reviving other humans and repopulating the planet. In reframing Reagan-era debates about security and survival, Butler captured the spirit of ‘pessimistic futurism’, a unique way of thinking and (...) writing black female sexuality, reproduction and survival. Suturing concepts central to both Afro-pessimism and Afrofuturism, pessimistic futurism carefully considers how black female subjectivity and labour create the coming world. By linking human survival to Lilith’s own ability to adapt to the new and dangerous world, Butler offers scholars of black studies a vital interpretive framework for thinking about the points of contact between pessimism and futurism. Specifically, Butler presents a form of futurism brought back to Earth, grounded in the sensibility of the black female experience. (shrink)

« Nous sommes tous sur le même bateau », s’écrient les collapsologues, comme s’il s’agissait d’un scoop. Seulement, ces catastrophes annoncées, ou déjà bien amorcées, sont principalement causées par l’Occident et son système économique destructeur. Il s’agit ici de s’interroger sur l’effondrement en adoptant une perspective inversée et d’exposer la démarche de l’autrice de science-fiction Octavia Butler et des continuatrices de son œuvre, qui excellent à rendre possible des histoires alternatives. L’effondrement peut être l’occasion rêvée de changer d’angle et (...) d’échelle et de revenir à l’essentiel. (shrink)

At the peak of this heated confrontation between Nero and Seneca, in which the latter exhorts the emperor to seek the people's love and trust rather than their hatred, Nero retorts that it is meet for the people to fear their prince . This is unsurprising and represents Nero as merely the latest in a long line of tragic tyrants . In the exchange that follows, however, is the slightly puzzling : ‘metuant necesse est’:: ‘quicquid exprimitur graue est’. It is (...) not only that Nero simply reiterates a concept already asserted in the line before which had prompted Seneca's ‘at plus diligi’. More than that, Seneca's exprimitur is a non sequitur after ‘metuant necesse est’. exprimere is to ‘squeeze out’, ‘to extort’, ‘to elicit’, but in Latin metus is hardly ever ‘extorted’, exprimere, on the other hand, is commonly said of sincere or pretended assent, applause, jubilation, or forced admission. The verb occurs again at 494 ‘humiles … uoces exprimit nostri metus’; 581 ‘exprimere ius est, ferre quod nequeunt preces?’; elsewhere in Sen. Oed. 529 ‘ulline poena uocis expressae fuit’; Clem. 1.1.7 ‘omnibus … nunc ciuibus tuis … haec confessio exprimitur esse felices’; Plin. Pan. 2.2 ‘uoces illas quas metus exprimebat’. (shrink)

The text quoted above each note is that of the edition of Seneca's tragedies by Otto Zwierlein , OCT 1986; numerous passages are discussed in his Kritischer Kommentar zu den Tragüdien Senecas , Stuttgart, 1986; various textual suggestions were made in a correspondence with Zw. by B. Axelson . Other works on Seneca's tragedies, referred to by the scholar's name only, are: Text and translation: F. J. Miller, Loeb, 1917; L. Herrmann, Budé, 1924–6. Text with commentary: R. J. Tarrant, Agamemnon (...) , and Thyestes ; J. G. Fitch, Hercules Furens . Text with commentary and translation: Elaine Fantham, Troades ; A. J.Boyle, Phaedra. (shrink)

According to Tacitus, this was Galba's verdict on Nero's fall. The tyrant's undoing had been of his own making. As for what determined the outcome, Galba is unequivocal. Two factors had proved decisive: Nero's immanitas and luxuria.

On or shortly after 4 February 43b.c.Cicero delivered theNinth Philippicin an effort to persuade the Senate to honour Ser. Sulpicius Rufus. He argued that Sulpicius, who had died of natural causes while acting as the Senate's envoy, was nevertheless entitled to the same recognition aslegatikilledob rem publicam. In the course of the speech Cicero discussed various historic precedents, including Cn. Octavius who was assassinated in Syria in 162b.c.while doing the Senate's bidding and was consequently honoured with a statue on the (...) rostra. The statue was still extant in 43b.c.and Cicero reminded his audience that it was now the only memorial to this great family. Cicero's observation has unanimously been interpreted as signifying that the family of the consul of 165b.c.was extinct in February 43b.c.In fact, Cicero actually meant that the statue on the rostra was now the sole surviving monument associated with the family of Cn. Octavius because the other two monuments that had served as a concrete reminder of the family had latterly been destroyed. (shrink)

Octavia Butler's 1979 novel Kindred is a hybrid text: part historical novel, part science fiction/fantasy and part slave narrative. The story transports a contemporary black heroine into 19th–century Maryland in order to explore, recreate and connect with African American narratives of identity. Providing two narrative strands, one in 19th–century Maryland and the other in 20th–century California, the text is able to juxtapose the realities of slavery with its legacy. Conflating these time–periods, Kindred aims to interrogate the marginalization of African (...) American history, but specifically the role black women played in that history, in America's bicentennial year. While Butler adapts what has been regarded as the quintessential African American literary mode of the slave narrative, her fiction consciously draws upon a literary heritage that foregrounds narratives written by black women. Consequently, Kindred highlights the issues and concerns that directly affect the construction of black femininity and its role in the community of slaves as well as examining the historical pressure brought to bear on the configuration of contemporary African American womanhood. In doing so, Butler's fiction articulates the right of black women to intervene in their own construction and to inscribe the existence of black women in stories of originary identity. What this article seeks to explore is how Butler's fiction develops and extends the traditional slave narrative, how this is utilized in order to interrogate the ‘realities’ of both slavery and contemporary US society, and how effective the text is in challenging stereotypical representation of white and black femininity. (shrink)

Within the history of African American struggle against racist oppression that often verges on dystopia, a hidden tradition has depicted a transfigured world. Daring to speculate on a future beyond white supremacy, black utopian artists and thinkers offer powerful visions of ways of being that are built on radical concepts of justice and freedom. They imagine a new black citizen who would inhabit a world that soars above all existing notions of the possible. In Black Utopia, Alex Zamalin offers a (...) groundbreaking examination of African American visions of social transformation and their counterutopian counterparts. Considering figures associated with racial separatism, postracialism, anticolonialism, Pan-Africanism, and Afrofuturism, he argues that the black utopian tradition continues to challenge American political thought and culture. Black Utopia spans black nationalist visions of an ideal Africa, the fiction of W. E. B. Du Bois, and Sun Ra’s cosmic mythology of alien abduction. Zamalin casts Samuel R. Delany and Octavia E. Butler as political theorists and reflects on the antiutopian challenges of George S. Schuyler and Richard Wright. Their thought proves that utopianism, rather than being politically immature or dangerous, can invigorate political imagination. Both an inspiring intellectual history and a critique of present power relations, this book suggests that, with democracy under siege across the globe, the black utopian tradition may be our best hope for combating injustice. (shrink)

Une nouvelle écrite pour l’anthologie Octavia’s Brood: Science Fiction Stories from Social Justice Movements [enfants d’Octavia: des histoires SF tirées des mouvements de justice sociale], éditée par adrienne maree brown et Walidah Imarisha. L’histoire parle d’un futur dans lequel toutes les personnes handicapées (appelées I. P. ou ImParfait·es) ont été envoyées sur une autre planète où, débarrassées des soldats envoyés pour les surveiller, ielles se sont créé une vie faite d’entraide. Cette vie est menacée par les Parfait·es, qui (...) s’apprêtent à revenir prendre le contrôle et créer une nouvelle dystopie pour eux. (shrink)

This book offers a new description of the significance of Hesiod's 'myth of the races' for ancient Greek and Roman authors, showing how the most detailed responses to this story go far beyond nostalgia for a lost 'Golden' age or hope of its return. Through a series of close readings, it argues that key authors from Plato to Juvenal rewrite the story to reconstruct 'Hesiod' more broadly as predecessor in forming their own intellectual and rhetorical projects; disciplines such as philosophy, (...) didactic poetry and satire all engage in implicit questions about 'Hesiodic' teaching. The first chapter introduces key issues; the second re-evaluates the account in Hesiod's Works and Days. A major chapter outlines Plato's use of Hesiod through close study of the Protagoras, Republic and Statesman. Subsequent chapters focus on Aratus' Phaenomena and Ovid's Metamorphoses; the final chapter, on the Octavia attributed to Seneca and Juvenal's sixth Satire, broadens ideas of Hesiod's reception in Rome. (shrink)

When is the future? Is it to come or is it already here? This question serves as the frame for three further questions: why is utopia a bad concept and in what way is fabulation its superior counterpart? If the object of fabulation is the creation of a people to come, how do we get from the present to the future? And what is a people to come? The answers are that the future is both now and to come, now (...) as the becoming-revolutionary of our present and to come as the goal of our becoming; utopia is a bad concept because it posits a pre-formed blueprint of the future, whereas a genuinely creative future has no predetermined shape and fabulation is the means whereby a creative future may be generated; the movement from the revolutionary present toward a people to come proceeds via the protocol, which provides reference points for an experiment which exceeds our capacities to foresee; a people to come is a collectivity that reconfigures group relations in a polity superior to the present, but it is not a utopian collectivity without differences, conflicts and political issues. Science fiction formulates protocols of the politics of a people to come, and Octavia Butler's science fiction is especially valuable in disclosing the relationship between fabulation and the invention of a people to come. (shrink)

The attention Seneca attracted in his lifetime and succeeding generations not only preserves information about his biography: it also merits interpretation as a cultural phenomenon on its own terms. This paper argues that the life of Seneca achieved exemplary status because it enabled Romans to think through issues critical to the preservation of social order. As a new man who rose to power as the republican noble families were dying out, Seneca posed the question of imperial succession in an acute (...) form. As a member of an imperial elite that was increasingly inclusive in its recruitment strategies, Seneca validated reliance on education and key cultural competencies as markers of elite status and legitimacy. His renown articulates a shift in emphasis within Roman culture from gloria-the old republican ideal based on zero-sum competition for honor-to claritas, or claritudo-distinction for special achievement or characteristics that grants entrée to a collective elite. The specific cultural competencies demonstrated by Seneca and noted by those who spread his renown alert us to practices the Romans especially valued, namely theatricality, the use of writing to display a persona, the mastery of general discourse, and the interpretation of politics in ethical terms. As an exemplum Seneca could be-and was-the target of both praise and blame. The story of his close relationship with Nero and subsequent tragic death placed him among the sacrificial victims Romans seemed to regard as legitimizing a social order based on domination by a well-defined elite. In addition to various of Seneca's writings, this essay considers in particular the Tacitean narrative of his relationship with Nero, Quintilian's analysis of his achievement and influence, and his depiction in Octavia. (shrink)

The opening pages of the annals of the Roman monarchy tell of long-lived rulers and thriving families. Augustus lived to the ripe age of seventy-six, survived by his wife of fifty-one years, Livia, who died at eighty-six, while her son Tiberius bettered his predecessor's record by two more years. Augustus’ sister Octavia gave birth to five children, all of whom lived long enough to get married; Agrippa left at least half a dozen children, and perhaps more; Germanicus, despite his (...) tender age at death, was survived by no fewer than three sons and three daughters. At the same time, longevity and abundant offspring went hand in hand with early death and misery. More than a few luminaries of Augustus’ court were less fortunate than their elders: Marcellus died at twenty-three, the elder Drusus at twenty-nine, Augustus’ heirs Gaius and Lucius Caesar at twenty-three and eighteen. Drusus had lost a number of children save three that survived; Germanicus buried three of his six sons as infants. (shrink)