Name der Zeitschrift: Byzantinische Zeitschrift Jahrgang: 108 Heft: 1 Seiten: 115-128.

In a 1988 conference, American and British scholars unexpectedly discovered that their ideas were converging in ways that formed a new picture of the variegated Hellenistic mosaic. That picture emerges in these essays and eloquently displays the breadth of modern interest in the Hellenistic Age. A distrust of all ideologies has altered old views of ancient political structures, and feminism has also changed earlier assessments. The current emphasis on multiculturalism has consciously deemphasized the Western, Greco-Roman tradition, and Nubians, Bactrians, and (...) other subject peoples of the time are receiving attention in their own right, not just as recipients of Greco-Roman culture. History, like Herakleitos' river, never stands still. These essays share a collective sense of discovery and a sparking of new ideas—they are a welcome beginning to the reexploration of a fascinatingly complex age. (shrink)

This paper explores the reception of Gellner’s historical sociology among students of pre-modern societies and the Greco-Roman world in particular and asks how his thought is still relevant to the field. This involves discussion of recent trends in world history as well as new comparative work on ancient state and elite formation. A main contention of the paper is that Gellner’s sociological reading of Plato and his politics may be one of the most interesting modern interpretations of the ancient Greek (...) thinker on offer and one which can serve as a fruitful framework for the comparative study of complex, pre-industrial societies. (shrink)

Autopoietic societies have produced three major images of civilization: the Greco-Roman, the Eurocentric Western, and the Settler Society type. The most important incarnation of the latter to date has been America. This article explores the deep-going differences between American and European ideas of civilization. It examines how the American kind of autopoietic civilization expresses itself in preternaturally distinctive conceptualizations of nature and freedom, life and death, order and chaos, city and ecumene. The article discusses the political and social implications of (...) this. (shrink)

In this engaging and provocative study, John Peter Kenney examines the emergence of monotheism within Greco-Roman philosophical theology by tracing the changing character of ancient realism from Plato through Plotinus. Besides acknowledging the philosophical and theological significance of such ancient thinkers as Plutarch, Numenius, Alcinous, and Atticus, he demonstrates the central importance of Plotinus in clarifying the relation of the intelligible world to divinity. Kenney focuses especially on Plotinus's novel concept of deity, arguing that it constitutes a type of (...) mystical monotheism based upon an ultimate and inclusive divine One beyond description or discursive knowledge. Presenting difficult material with grace and clarity, Kenney takes a wide-ranging view of the development of ancient Platonic theology from a philosophical perspective and synthesizes familiar elements in a new way. His is a revisionist thesis with significant implications for the study of Greco-Roman, Jewish, and Christian thought in this period and for the history of Western religious thought in general. (shrink)

The term “pagan monotheism” was coined to describe monotheistic tendencies in Greco-Roman religion. Its usefulness has been strongly disputed on various grounds: for introducing a cognitive perspective on ancient religion, which was basically ritualistic; for implicitly taking Christianity as the norm by which to measure classical religion; and for confusing scholarly categories by classifying phenomena as monotheistic that are much better described as henotheistic. This article suggests that these arguments have been attempts to create a supposedly objective and universal scholarly (...) vocabulary, while that new vocabulary would serve to obscure the history and ideological origin of the concepts it promoted. Arguing for a reflective, hermeneutical approach that incorporates an awareness of the origin and charged meanings of our concepts into scholarship, the author proposes methodological pluralism as a way out of these unfruitful terminological debates. Each concept sheds light on some aspects of reality while obscuring others. In particular, the often-criticized ambiguity and fuzziness of the term “pagan monotheism” may help us to formulate questions that otherwise would remain marginal in studies of ancient religion. (shrink)

Este artigo tematiza o apóstolo Pedro como personagem no evangelho de Mateus. O objetivo é identificar as nuances e transformações do personagem Pedro no evangelho. Para tanto, tomo como ponto de partida a pertença do evangelho ao gênero literário biografia greco-romana, que apresenta Jesus Cristo como protagonista. Os demais personagens são desenvolvidos em relação com ele. O mesmo se dá com o apóstolo Pedro. O texto se desenvolve a partir da teoria narrativa, de modo particular a caracterização de personagens. Identifico, (...) a partir de Erich Auerbach e Robert Alter, as características de personagens bíblicos, tecendo comparações com teorias do personagem no romance moderno. A análise de textos do evangelho de Mateus que retratam o personagem Pedro leva à conclusão que suas principais características são a complexidade e a inversão. Elas produzem uma visão geral da involução do personagem na narrativa do evangelho de Mateus. Palavras-chave: Pedro. Evangelho de Mateus. Teoria narrativa. Complexidade. Inversão.This article focuses on the apostle Peter as a character in the Gospel of Matthew. It aims at identifying the nuances and changes of the character Peter in the Gospel. For this purpose, I take as a starting point that the gospel belongs to the literary genre of ancient Greco-Roman Biography, which presents Jesus Christ as the protagonist. The other characters are developed in relationship with him. The same is true with the Apostle Peter. The article unfolds from narrative theory, in particular the categorization of characters. I categorize, based on Erich Auerbach and Robert Alter, the features of biblical characters, developing comparisons with theories of the character in the modern novel. The analysis of the main texts from the Gospel of Matthew that portray the character Peter leads to the conclusion that its main features are complexity and inversion. They produce an overview of the involution of the character in the narrative of the Gospel of Matthew. Key words: Peter. Gospel of Matthew. Narrative theory. Complexity. Inversion. (shrink)

The paper discusses al-Kindī's response to doctrines held by contemporary theologians of the Mu‘tazilite school: divine attributes, creation, and freedom. In the first section it is argued that, despite his broadly negative theology, al-Kindī recognizes a special kind of “essential” positive attribute belonging to God. The second section argues that al-Kindī agreed with the Mu‘tazila in holding that something may not yet exist but still be an object of God's knowledge and power. Also it presents a new parallel between al-Kindī (...) and John Philoponus. The third section gives an interpretation of al-Kindī as a compatibilist, in other words as holding that humans may be free even though their actions are necessitated. In all three cases, it is argued, al-Kindī is close to the Mu‘tazilite point of view, though he departs from them in the arguments he gives for that point of view. (shrink)

The most comprehensive compilation of the works of Abelard and Heloise ever presented in a single volume in English, _The Letters and Other Writings_ features an accurate and stylistically faithful new translation of both _The Calamities of Peter Abelard_ and the remarkable letters it sparked between the ill-fated twelfth-century philosopher and his brilliant former student and lover—an exchange whose intellectual passion, formal virtuosity, and psychological drama distinguish it as one of the most extraordinary correspondences in European history. Thanks to (...) this edition, Latin-less readers will be better placed than ever to see why this undisputed milestone in the intellectual life of medieval France is also a masterpiece of Western literature. In addition to the _The Calamities_ and the letters--the first complete English translation of all seven in more than eighty years--this volume includes an Introduction, a map, and a chronology, Abelard's _Confession of Faith_, letters between Heloise and Peter the Venerable, the Introduction to _The Questions of Heloise_, and selected songs and poems by Abelard, among them a previously untranslated shaped poem, Open Wide Your Eyes. Extracts of lost letters sometimes ascribed to Abelard and Heloise are given in appendixes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Music, Mind, and Morality:Arousing the Body PoliticPhilip Alperson (bio) and Noël Carroll (bio)I. IntroductionIf like Aristotle one agrees that the responsibility of philosophy is to offer as comprehensive a picture of phenomena as possible, then one must admit that sometimes the methods and goals of analytic philosophy stand in the way of getting the job done properly; they may even distort one's findings. This is not said in order (...) to eschew analytic philosophy. It is simply a reminder that sometimes we need to stand back and check to reassure ourselves that the tail is not wagging the dog.One example of where this danger looms is in the philosophy of art. In the eighteenth century the Modern System of the Arts was born.1 It included the practices that we think nowadays are the appropriate inhabitants of art schools and art centers and the legitimate beneficiaries of programs like the National Endowment for the Arts in the United States. These arts included poetry, painting, sculpture, music, dance, and sometimes gardening. These are what we might call the arts with a "capital A."This is a different way of understanding the notion of the arts and the nomenclature from which they derive in Latin and Greek. For Socrates, Aristotle, and Plato, arts were simply any skilled practice. Poetry, for Aristotle at least, was an art, but so were navigation, medicine, and statecraft. And there were, of course, the martial arts. What happens with the emergence of the Modern System of the Arts—otherwise known as the Fine Arts, or the Beaux Arts, or, for us, the Arts with a capital A—is that a subset of the arts in the Greco-Roman sense were selected out and christened as a class unto itself, [End Page 1] different from the other "small a" arts. Whereas once upon a time chemists and painters might have been grouped together in the same guild in virtue of the fact that both types of workers ground substances, such as pigment; with the advent of the Modern System of the Arts, chemists and painters became first and foremost categorically different.However, the consolidation of the class of Arts with a capital A demanded a theoretical answer to the question of what criterion an art form had to meet in order to gain membership in the Modern System of the Arts. The first suggestion was that a candidate practice had to possess the capacity to imitate the beautiful in nature. This was not a definition that had legs. For when absolute or pure instrumental music—or, as Peter Kivy calls it, music alone2 —took center stage as the most important form of music as well as the Art with a capital A to which all the other arts putatively aspired, the criteria for entry into the Modern System of the Arts had to be reconceived. Since music alone could not creditably be described as the imitation of the beautiful in nature (or, for that matter, the imitation of anything else), a new license for practicing Art with a capital A had to be found. And this has become one of the animating tasks of the analytic philosophy of art.But the analytic philosophy of art comes with a certain bias toward discharging this task. It is committed to finding an essentialist answer to resolving the question of what warrants citizenship in the republic of Art (with a capital A). That is, what makes something an Artistic practice or, for that matter, a work of Art such that it is different from other things? What separates the Arts and the artworks from everything else?Perhaps not surprisingly, one of the most popular and recurring proposals here is that the Arts are what are primarily intended to promote aesthetic experience where that has formerly been characterized as disinterested pleasure but, more recently, as experience valued for its own sake. Experience valued for its own sake, of course, is virtually by definition conceptually independent from any other end, whereas the practices that do not belong to the Modern System of the Arts are primarily devoted to securing other ends—useful or utilitarian ends, knowledge... (shrink)

The essays collected in this issue offer complementary critical perspectives on the mature lyric work of Derek Walcott, the acclaimed Nobel laureate from the Caribbean island of St. Lucia. The centerpiece of the ensemble is a previously unpublished essay in which Walcott’s reflections on poetics illuminate his project in the masterpiece, _Omeros._ Other contributions by literary scholars in North America and the Caribbean focus on fundamental dimensions of Walcott’s craft and on such thematic preoccupations as the intersection of pictorial and (...) verbal modes of representation, the deployment of nuanced intertextual strategies (especially in relation to the Greco-Roman canon), the invention of a viable artistic identity in a postcolonial intercultural milieu, and the psychosocial modeling of the process of literary apprenticeship. _Contributors. _Edward Baugh, Peter Burian, Gregson Davis, Carol Dougherty, Joseph Farrell, Judith Harris, Timothy Hofmeister, Derek Walcott. (shrink)

Even among critics not particularly concerned with detective fiction, Dashiell Hammett’s fourth novel, The Glass Key , is famous for carrying the so-called objective method to almost obsessive lengths: we are never told what the characters are thinking, only what they do and look like. Anyone’s decisions about anyone else’s intentions are interpretive decisions, dependent on correct presuppositions—on having the right interpretive key. The novel’s title, in part, refers to this kind of key. Ned Beaumont, the protagonist, has to decide (...) how to govern his relationship with Janet Henry; one of his major clues to her mind is a dream that she tells him, a dream that climaxes in an attempt to lock a door against an onslaught of snakes. Dream interpretation is difficult enough to begin with, and Janet Henry compounds that difficulty by telling the dream twice. In the first version, the attempt to lock the door succeeds; in the second, the key turns out to be made of glass and it shatters. Ned Beaumont, in deciding which dream to us as his key, chooses the second —but it is a choice based on an intuitive mix of experience and faith, knowledge and hunch.A reader often faces the same difficulties that Ned Beaumont does. Reading a book, too, requires us to make a choice about what key to use to unlock it, and that choice must often be based on an intuitive mix of experience and faith, knowledge and hunch. For example, as I shall show, the experience of reading certain texts—not all, but a significant number of them—is problematic because it depends in part on whether the reader has chosen, before picking them up, to approach them as popular or serious. My argument hinges on two prior claims. First, I contend that one way of defining genres is to consider them as bundles of operations which readers perform in order to recover the meanings of texts rather than as sets of features found in the texts themselves. To put this crudely but more modishly, genres can be viewed as strategies that readers use to process texts. Second, I argue that popular literature and serious literature can be viewed as broad genre categories. Peter J. Rabinowitz is associate professor of comparative literature at Hamilton College. He is currently working on a book about literary conventions and is also active as a music critic for such publications as Fanfare and Ovation. His previous contributions to Critical Inquiry are “Truth in Fiction: A Reexamination of Audiences” and “Who Was That Lady? Pluralism and Critical Method”. (shrink)

School leaders are optimally positioned to identify teachers who would make strong and inspiring administrators. Today's Teachers, Tomorrow's Leaders: A Guide to Identifying and Developing Future Administrators by Peter Marshall guides leaders on how to spot teachers with the potential to lead and how to model the skills and behaviors that will make them successful. Marshall describes ten Ways of Being of the impactful school leader and presents his Situational Leadership Model to help leaders identify teachers who exhibit strong (...) leadership qualities and to inspire them to take the leap. Thoroughly researched with real-life applications, Today's Teachers, Tomorrow's Leaders is a practical guide full of sample meeting planners, planning pages, and other useful resources to streamline the selection process. (shrink)

The theory proposed by Fitouchi et al. misses the core of puritanical morality: Cruel punishment for harmless actions. Punishment is mutually harmful, unlike cooperation which is mutually beneficial. Theories of moral judgment should not obscure this fundamental distinction.

Young’s paper (2012) offers an interesting and fruitful extension to recent work on Cotard’s syndrome, and in particular, a philosophical investigation of how and why beliefs around death and non-existence frequently co-occur with beliefs around immortality. In this brief response, we discuss a few issues from the paper. Namely, the issue of Cotard delusion being a natural kind, the seeming paradox of death and immortality and its relation to wider culture and literature, and the utility of the concept of misplaced (...) being. (shrink)

Nel 2011 il National Theatre di Londra celebrava il trentesimo anniversario della produzione dell’ Oresteia (Agamennon, Choefori e Eumenides) con una grande mostra che raccontava il lungo processo di creazione di uno degli allestimenti più famosi del teatro inglese degli ultimi quarant’anni; si tratta dell’adattamento e della traduzione della Trilogia di Eschilo a opera del poeta e scrittore inglese Tony Harrison, con la regia di Peter Hall (direttore del Teatro Nazionale dal 1973 al 1988) e le scene e le (...) maschere di Jocelyn Herbert. Questa mostra curata da Cathy Courtney, arrivava sette anni dopo la grande esposizione dedicata alla scenografa inglese intitolata Jocelyn Herbert at the National (2004).Il presente saggio racconta il lungo percorso creativo che ha portato alla definizione, oltre che di un’originale traduzione, anche di un particolare allestimento scenico che prevedeva l’uso di maschere per i soli attori uomini, create dalla Herbert, una delle più famose stage designer britanniche. I materiali preparatori sono stati messi a disposizione online negli ultimi anni, grazie a un progetto di digitalizzazione del National Theatre in collaborazione con Google Culture Institute. Proprio alle maschere della Herbert e alle diverse proposte e trattamenti della maschera greca in chiave contemporanea è dedicato un contributo critico finale che le affianca comparativamente sia a quelle del mascheraio e studioso di teatro greco classico Ferdinando Falossi, sia alle maschere video digitali e fotografiche create rispettivamente da Teatrino Giullare e da Marzio Emilio Villa. (shrink)

The aim of this paper is to shed some light on the distinction between justified and unjustified religious diversity, a problem that Dirk-Martin Grube only hinted at in his article ‘Justified Religious Difference.’ This article’s focus is not so much on the epistemological question of justifying religious difference, but on how to deal with it in the societal sphere. This implies that religions and religious diversity will be approached from a practical perspective, that is, as ways of life. I start (...) by examining the opportunities and problems of religious diversity, opposing a universalist and a particularist view on this issue. Religious difference is an opportunity, because it is intertwined with creativity and innovation, but it is also a problem, because it confronts us with incompatible judgments, irreconcilable values, and contrary principles. Notwithstanding the legitimate objections that can be raised against the particularist position, the above observations seriously undermine Grube’s idea that the distinction between justified and unjustified religious difference can be made unambiguously, because of the heterogeneous character of the idea of justification itself. In order to deal with this issue, I propose a re-examination of the idea of tolerance, defined as a virtue: I disapprove of your manner of living, but I respect in it your liberty to live as you please and I recognize your right to manifest it publicly. But this virtue makes only sense against the background of the intolerable, which is the translation of the idea of unjustified religious difference into the language of the public debate. This idea serves as an always fragile limit to tolerance. (shrink)

Just what is philosophy? Is there objective truth? Is self-knowledge possible? What is being? What is man's relation to nature? Is it possible for human reason to know God? If there is a God, why is there evil? What is happiness and how can we achieve it? If you've ever wondered about the answers to any of these questions, this is the book for you!...Every Catholic should own one book on philosophy. This is it." [taken from back cover].