The comparison by which the Chorus of Satyrs in Euripides’ Cyclops 469–471 illustrates its wish to participate in the blinding of the Cyclops is regarded as difficult in research on the play, due to the ambiguous expression ὥσπερ ἐκ σπονδῆς θεοῦ. There is no consensus either on the question of how the reference to libation is to be understood, nor on whether the transmitted phrasing is correct at all. In the present paper I attempt to show that doubts over (...) the transmission are unfounded and that attempts to refer the comparison not to libation but to the ritual use of water for handwashing at sacrifice are not persuasive. Rather, Euripides in this passage is engaging with the theme of libation on several levels of meaning: when we pay close attention to the context, cult-specific associations and literary applications of libation as a motif in Homer and Aristophanes, the words of the satyrs can be read, firstly, as a metaphorical reference to the two main actions in Odysseus’ plan for revenge, and secondly as a subtle allusion to the use of libation and spit-roasting in sacrificial ritual. (shrink)

This article argues that libation, often associated with the ancestors, artefacts, images and pre-Christian religious devotions, constitutes sources for articulating authentic African cultural history of Obang community in the Northwest Region of Cameroon. It highlights that among traditional memory carriers, the ritual of libation remains trust worthy and pervasive, even among communities challenged by globalisation and colonising effects of Christianity. The article demonstrates the immense potentials of libation as an epitome and stabiliser of cultural memory, and a (...) maxim in cultural resilience in contemporary Africa. Thus, the article calls for revisiting this ancient ritual to expose its potentials as a veritable memory repertoire in cultural-historical studies, especially at a time when social change and modernism continue to challenge the memories of traditional societies. (shrink)

This article proposes a fresh reading of a difficult and much-debated passage in Clytemnestra’s speech of triumph in the Agamemnon (1372–98). I argue that in lines 1395–6 Clytemnestra does not speak about herself as pouring a libation, as is generally assumed, but envisages instead the dead body of her murdered husband as the performer of this ritual. This reading, which is based on an overlooked syntactical option, avoids several inconsistencies of previous interpretations and neatly fits into the development of (...) thought and imagery in the speech. It shows how Clytemnestra’s exultation over the corpse of her husband forms a series of closely connected cynical re-interpretations of the murderous blood. (shrink)

Euripides’Bacchaeis one of the most intensively studied Greek tragedies. Generations of scholars have explored the play from different perspectives and offered fascinating insights. But there are still aspects that have not received the attention they deserve. One such aspect is Euripides’ use of libation as a dramatic motif. Even though this motif relates directly to the question of the tragic conflict between Dionysus and Pentheus, it has never been discussed in detail and its dramatic impact has not been fully (...) acknowledged. (shrink)

What could be more dull than the idea of a symposium? The word conjures up associations with dusty dons, tedious academic papers on deservedly obscure facts and theories. In universities these days, what used to be called ‘symposia’ are often called ‘workshops’ – perhaps in a feeble attempt to make the symposium sound more exciting. If this is your view of the symposium, you may be surprised to learn that the original ancient Greek symposium was a drinking party: the word (...) derives from the Greek for ‘drinking together’. A Greek symposium was a ritualised and often debauched affair. The master of the symposium would begin by drinking a small ‘libation’ of undiluted wine – the Greeks normally mixed their wine with water – and he would then decide in what proportion the wine was to be diluted to determine what kind of evening it was going to be. Plato’s Symposium, a dialogue on the nature of love, describes the most famous symposium of all. The great philosopher Socrates dominates the discussion (as he normally did), drinks more than anyone else, and leaves the symposium sober in the early morning, with the inferior thinkers and drinkers comatose. (shrink)

Erster Theil. I. Ueber den Geist der wahren Religion ; II. Ueber den Einfluss der Moralität des Philosophen auf den Inhalt seiner Philosophie ; III. Ueber die teutschen Beurtheilungen der französischen Revolution ; IV. Ueber die Duelle auf Universitäten ; V. Ueber den Cölibat der katholischen Geistlichkeit ; VI. Ueber den Zweck meiner öffentlichen Vorlesungen über Wielands Oberon ; VII. Ueber den Begriff der Geschichte der Philosophie ; VIII. Ueber den Einfluss des Geschmackes auf die Kultur der Wissenschaften und der (...) Sitten ; IX. Ueber die bisherigen Begriffe der Vergnügen -- Zweyter Theil. I. Ueber den gegenwärtigen Zustand der Metaphysik und der transcendentalen Philosophie überhaupt ; Einige Bemerkungen über die in der Einleitung zu den metaphysischen Anfangsgründen der Rechtslehre von I. Kant aufgestellten Begriffe von der Freyheit des Willens ; Aphorismen über das äussere Recht überhaupt und insbesondere das Staatsrecht. (shrink)

The article explores cross-modal iconic relations in nine diverse Western-music songs ranging from 1600 to 2015, all of them thematizing dysphoric weeping. Initial input comes from five recurrent features observed in ancient Greek texts associated with performative events, including the prominence of sound, interjections and strong self-referentiality, repetitions and refrains, the motif of endlessness, and tears associated with streams of water, dew, and libation liquids. The analysis adopts Peirce’s conceptual distinction between image, diagram, and metaphor iconicity, although the continuum (...) reading proposed by several scholars is ultimately favored. The sample turns out to offer plenty of evidence of iconic relations. Interjections, falsetto, verbal repetitions, musical repetitions, musical rendering of sighs and endlessness, ostinato patterns, downward notes, and water images (rain and rivers), all of this is shown to substantiate cross-modal iconicity encompassing weeping, lyrics, music (including musical notation), and images, in different combinations. Quantitative investigations confirming/disconfirming and adding iconicity patterns, and comparative analyses linking Western and non-Western lament traditions constitute desiderata for future work. (shrink)

Excerpt from Origin of History as Metaphysic The Muse Clio, carted from Pieria to the museums, can no longer be invoked without a libation to her warders, the numerous scribes, who have been busy since her fall correlating her steps, or her metamorphoses, as some say, for she has proved a difficult subject for classification: She is becoming bigger or better, nay she is growing many; she stations one foot in the beginning, but where is the other? Alas, it (...) is in Asia, and the head is a fake in need of restoration! Thus she has become Clio Tymbuchos in the professional hands of the scribes who find lively occupation exhuming and questioning her relics corked into formaldehyde and coffined into airtight compartments called historical facts. Men have speculated her into a new myth, a sepulchre of forms, and they have named the sepulchre History. But observe her resurrections! She has arisen, a mighty thing-in-herself with her own laws and growths and decays, and disembodied, dismembered, this apparition, this butterfly-concept called Clio, is expanding towards infinity. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:RANSOM'S GOD WITHOUT THUNDER: REMYTHOLOGIZING VIOLENCE AND POETICIZING THE SACRED Gary M. Ciuba Kent State University From tree-lined Vanderbilt University of 1930 Nashville, the modernist poet and critic John Crowe Ransom longed to hear in his imagination the God who thundered fiercely in ancient Greece, Rome, and Israel. The God of sacrifice who in Homer's Iliad, "his thunder striking terror," received libations from the warring armies (230). The God (...) of jealousy who in Aeschylus' Prometheus Bound "drove the sleepless thunderbolt, / plunged the fire spurting shaft/ down" on Typhon for defying heaven with his violence (46). The God of vengeance who in Ovid's Metamorphoses sent "blinding / Thunder [to shake] Olympus, and Pelim / Thrust down by heaven's bolt crashed over Ossa" when the giants piled mountain upon mountain to reach Jove's throne (35). The God ofviolence who in Psalm 78:48 delivered the cattle ofthe obstinate Egyptians "to the hail, and their flocks to hot thunderbolts" or who in 1 Samuel 7:10 "thundered with great thunder" to smite the Philistines. In God Without Thunder: An Unorthodox Defense of Orthodoxy Ransom attacked the modern heresy that deprived the deity ofsuch awful might and summoned Americans to live under a new myth of sacred violence. IfRansom listened with the ears ofthe Methodist faith in which he had been raised, he might have heard how the god of old was muted at the university where he studied and later taught. Ten years before Ransom was born, Methodist-sponsored Vanderbilt had eliminated the lectureship of naturalist Alexander Winched because hisPre-Adamites had challenged the Creation story in Genesis. But in 1914, when Ransom returned to his alma Gary M. Ciuba41 mater to begin more than two decades of teaching there, the Methodists ended their affiliation with Vanderbilt because of a dispute about church governance of the university (Bailey 9-10, 31-4). When the Scopes Trial caused a furor in 1925, Ransom was invited by Vanderbilt to condemn the Fundamentalists to the southeast in Dayton. He refused-not because he sided with the anti-Darwinists but because he believed that the tyranny of science was threateningthe poetic foundation ofreligion (Quinlan 40, n. 3). Ransom's thunderless plight was virtually imagined by H.L. Mencken, one of the most stinging critics of the creationists, when in 1922 he penned a tongue-in-cheek lament forthe passing ofthe ancient deities. "Where is the graveyard of dead gods? What lingering mourner waters their mounds? There was a time when Jupiter was the king ofthe gods, and any man who doubted his puissance was ipso facto a barbarian and an ignoramus," Mencken mock-elegized in "Memorial Service." "But where in all the world is there a man who worships Jupiter today?" (95). God Without Thunder provides the answer to Mencken's archly lugubrious question: it is John Crowe Ransom. Grieving the demise ofthe deity ofyore, Ransom's treatise on the religious imagination heralds a one-man revival of Jupiter Tonans. Ransom believes that the god ofantiquity has been muffled bythe spirit of scientific abstraction that reigns notjust in Tennessee but across all of America.7 Hetraces this modern cult ofthe mind beyond the current efforts ofreligion to seek a rapprochement with biology and physics; beyond the science-driven Prometheus of Shelley, the rationalism of the Protestant Reformation, and the inquiry of Copernicus; beyond the errors of early Christianity, to a kind of primal sin. Humans have used their intelligence first to set themselves above nature, then to order the world according to their ways, and finally to exploit all ofcreation for their use. Demystified by science, thunder has become not the mighty weapon ofthe ancient God who tolerated no rivals but only the noise of heated and expanding air. Ransom views science as having such ultimacy that it exercises a mimetic function: it provides Girardian models for desire. "Science directs us to amuse ourselves, between desires," Ransom writes, "by simulating 7 Louis Rubin reads Ransom's "Armageddon" as a poetic companion piece to God Without Thunder, for it tells how divine wrath has been compromised amid the suavities of the modern world At the apocalyptic battle of the poem's title, a militant... (shrink)

Dunn, Geoffrey D Older Catholics would have grown up hearing about the sacrifice of the Mass, while in the last fifty years we have increasingly spoken of the celebration of the eucharist. Of course, the eucharist is sacrifice, but it is other things besides, like meal and celebration, and the word 'sacrifice' is easy to misinterpret. For many of us the word 'sacrifice' conjures up thoughts of the killing and slaughter of animals or even people. It is true that the (...) word can mean this, but it has a much broader meaning. To sacrifice something is to remove it from the realm of the everyday and hand it over or dedicate it to some other purpose. Thus, a bloodless sacrifice, like the libation or pouring out of wine, is the offering up of something for someone else's use rather than one's own. Naturally, the killing of a living victim ensures that one cannot change one's mind later on and take it back, especially when the burnt sacrificial animal has often then been eaten by those who had participated in or witnessed the ritual slaughter. (shrink)

Alcoholism is endemic in Nigeria’s traditional religion and society. This abuse is especially common at New Yam festivals, Ekpe, Ekpo and Nmanwu masquerades festivals, burial rituals, birth, marriage and naming ceremonies. Some claim that this is driven by specific beliefs and activities in African culture, such as beliefs in ancestors, libation, hospitality and entertaining guests and strangers and the desire to maintain the cultural traditions of the ancestors. Alcohol abuse has generated major health and social issues for abusers, their (...) families and society, plunging families, towns and tribes into crises and conflicts that bring economic and political retrogression. This research studied how the African traditional religion encourages alcohol misuse and how to decrease it for national development. This study was on Nigeria’s South-South region. The study uses qualitative and ethnographic research methodologies, including key informants, in-depth and focus group interviews and the reward deficiency syndrome as a theoretical framework. Although African Traditional Religion (ATR) supports alcohol usage, greed, a lack of self-control, peer pressure, indiscipline and lack of moral upbringing led to alcohol misuse, which harms the person, family, community and country as a whole. Education and enlightenment are a remedy to free alcoholics and utilise them for national integration and development.Contribution: Some say Africans drink a lot because their religious heritage promotes drinking, leading to abuse. However, peer pressure, selfishness, a lack of self-control, bad parenting and not religion push persons with reward deficiency syndrome into alcoholism, according to this research. (shrink)

There can be no doubt about the object which Delphis was in the habit of leaving at Simaetha's house. The word λπη is capable of meaning a ladle or jug for wine , and the name is conventionally applied by archaeologists to a particular form of jug, but Delphis did not carry a jug about with him. What he took to the gymnasium or palaestra where he appears to have spent most of his time was the portable flask of oil, (...) carried indeed by others, but, together with sponge and scraper, the regular equipment of the athlete. ὌΟλπις, which appears to be a mere synonym, also has the same two meanings. At Sapph. fr. 51 it is a wine-jug, but at T. 18. 45, where the Spartan girls will make libation of oil at Helen's plane-tree, the silver λπις containing it is no doubt that from which they anoint themselves in their masculine way by the Eurotas. (shrink)

When the West African nation of Ghana attained its independence from colonial rule in 1957, its traditional culture was to be promoted in all sectors of public life. Similarly, what was construed as Ghanaian traditional religion was to be treated equally with Christianity and Islam. The ritual offering of libations to ancestral spirits and deities was considered the Ghanaian equivalent to Christian and Muslim prayers, and it has been performed side by side with them in all sorts of national events. (...) Later on, the libation ritual became a symbol of both Ghana’s religious diversity and its national culture, transcending religious divisions. Many Christian groups, especially from the Pentecostal-charismatic movement, have refused to accept the public status of the libation ritual in view of its alleged immoral ‘pagan’ associations. When the pouring of libations was removed from the Independence Day ceremonies held at the state capital in 2011, the public debate soon turned to the relationship between the government and Pentecostal churches, and accusations of religious intolerance were levelled. This article discusses how the arguments about the status of the ritual boil down to differences in semiotic ideology and notions about proper agency – namely, how forms of agency pertaining to words, objects, persons and spiritual beings involved in the ritual are understood differently by the disputants. (shrink)

The second play of the trilogy begins with the appearance before Agamemnon's tomb of the long-absent Orestes, who prays to Hermes for aid in his revenge and then dedicates upon the tomb a lock of hair cut from his own head. He is interrupted by the entrance of Electra together with the captive women who form the Chorus; in consequence of an evil dream, Clytemnestra has sent them to pour a libation to the spirit of her murdered husband. After (...) discussion with the Chorus, Electra resolves to accompany that libation not with words of appeasement, but with a prayer for her father's help in taking revenge upon his murderers. Going to the tomb to pour the libation, she notices upon it the lock put there by Orestes . She notices that the hair is like her own, and at once suspects that it may be her brother's. ‘How can he have dared to come here?’ the Chorus ask her ; and she replies that he must have sent the lock from his place of exile. The thought that Orestes' return is impossible plunges both the Chorus and Electra into deep sorrow, and in tears Electra broods over the lock . It can belong only to Orestes; she wishes it could speak, so that either she could know it not to be his, or else it could at least take part with her in mourning. At this point, if we cantrusttheone manuscript, Electra breaks off her reflections with a prayer . ‘But we call upon the gods,’ she says, ‘well do they know by what storms, like sailors, we are buffeted; but if we are fated to find safety, from a small seed may grow a mighty trunk.’ Next, if we are to trust what is transmitted, Electra catches sight of a new indication of her brother's presence. ‘Yes, and here are tracks,’ she says , ‘a second indication, the tracks of feet matching each other and resembling mine. Yes, for here are two outlines of feet, his own and those of some companion. The heels and the outlines of the tendons agree in their proportions with my prints. I am in torment, and my wits are confounded.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:James K. Mish'alani KAFKA: TEXT'S BODY, BODY'S TEXT LONG BEFORE it appears in its own life as a bio-anatomical object, the body itself is integrally lived; and after it makes its appearance, lying or standing there ready for scrutiny, dissection, examination, it yields itself thus in its objectivity only to kindred bodily probing, wherein the hands that search, press, palpate and die roving eyes, the patient, closeheld ear, are (...) not encountered, but lived as modes of access to their object. Generally, the lived body is for itself transcendence toward the world as that within which diings are to be met, and the world, disclosed in an implicit understanding of what things one can behave toward and how one can variously behave toward diem, thus stands in correspondence to the body. As limit, die world determines the specific ways in which things are to be dealt with. As access, the body on its side projects through the lived articulation of limbs and organs those paths toward, by and about things whereby die very complexion ofdie world is always revealed. The body is world-revelation. ] But as die presence of diings in the lighting of revelation is not uniform or indifferent, but variegated, so is die body differentiated, articulated, variously organed and limbed, outfitted, equipped, and geared. The window lets in the light ofday and opens out on scenes only for die seeing eyes of a creature of vistas and distances. The hammer, standing out toward nails and wood, as toward all that they may be nailed togedier for and all diat diey may be brought togedier from, does so only insofar as it is ready for die hand diat lifts it. The pair of shoes suited to the earth, gathering about it die doorsill to die country path, the windswept fields, sun, rain, grain, bread, evening, dawn, die hearth and floorboards by childbed or deadibed, does all this in its humble reliability for the tread of the peasant woman whose footedness releases her through it to the security of a simple world. Thejug mat comes to full presence asjug in the outpouring ofa gift 56 James K. Mish'alani57 in which, be it water or wine, earth and sky together dwell by a marriage of soil and rock to rain and sun in spring or vine — this jug does its manifold-simple gathering of the world's extremities for the hand that pours the outpour, toward the lips for whom a refreshing drink is given, or before the faces lifted up in thanks to the gods for whom a libation is poured.2 Thus are things in most essential ways rooted in the body; and as primal ground the body in turn remains matrix to the world, not an object found in it.3 Nor does the other's body appear in the manner of an object in my encounter with him or her, whose features, glances, gestures, and movements all point beyond themselves and thus turn me with them toward that which occupies them and in relation to which I must assume a specific stance if only to reject it or, deciding it does not concern me, pass it by. The other's body lights up the world for me no less than mine does, in a co-transcendence toward a common horizon of meaning consensually confirmed, and ever renewed, laying for us a shared ground of world engagement without which even error, disagreement, and dissension become impossible. As the equipment through which I ordinarily pass in my projects does not stand out as an object until it breaks or is lost, so the other's body and mine do not obtrude and call attention to themselves in pure anatomical objectivity unless a radical breakdown occurs occasioned by some such disruption as disease, death, or a chaos of incoordination. Otherwise and until then, the other and I continue to be co-workers at world-disclosure, passing through each other's attitudes and movements as through unobstructed space. The human shape that comes toward me from the opposite direction reveals that part ofmy path I have left behind. The open hand thrust out from that tattered sleeve... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.4 (2006) 675-696 MuseSearchJournalsThis JournalContents[Access article in PDF]History of Religion Becomes Ethnology: Some Evidence from Peiresc's AfricaPeter N. Miller Bard Graduate CenterAbstractThe relationship between history of religion and ethnology on the one hand, and antiquarianism and them both, on the other, lie at the core of this essay. These lines of inquiry come together in the work of Nicolas Fabri de Peiresc (1580-1637), (...) the intellectually adventurous Provençal late humanist. Peiresc's correspondence with a renegade in Tunis, an adventurer in Ethiopia, and a missionary once based in Guinea provided him with remarkably direct information about the customs and practices—the moeurs—of contemporary sub-Saharan Africans. The content of these letters has not found its place in histories of anthropology or histories of antiquarianism.I.Bound up amidst Peiresc's copies of his letters to the Paduan antiquary Lorenzo Pignoria from the winter of 1615–16 is a text of four sides entitled, in large letters, "Delli Popoli della China" and continuing, in smaller ones, "written by P. Ioannes Pietro Maffei History of the Indies, Fr. Antonio di Saint Roman, in the History of the East Indies, Fr. Juan Gonzalez de Mendoza Augustino, in the books on China, and others." 1 The reading notes [End Page 675] that follow are interesting for one reason: though labelled "Delli Popoli della China" they are almost entirely about religion in China. At this stage of Peiresc's thinking at least, history of religion seems interchangeable with ethnography.In his letter to Pignoria of 4 January 1616, Peiresc acknowledges having time to page through ("di transcorrere un poco") Maffei, Gonzales, and Saint Roman where he found some information about figures they had discussed, and also about artificial grottoes used for domestic refrigeration, "which I did not note when I read it the first time." He asked if Pignoria wouldn't mind inquiring as to whether there was a more precise impression of a particular Chinese plaque or medallion—Pignoria had sent him one but Peiresc pronounced it "not as exact as I would like." 2Peiresc begins with the gods that were worshipped (these included deceased parents and friends, as well as the occasional living person) and auguries. This then leads to mention of the clothing and hair styles of those priests making offerings to the gods. Some of this information was derived from that octagonal medallion. Peiresc also noted down the presence of a vase, as if for libation, and other instruments for offerings.These authors, he continued, observed that the Chinese revered the God of Heaven above all the others. Peiresc recorded that Gonzalez mentioned that he was indicated by use of the first letter of the alphabet, that this character looked a bit like "AF," that it was called "Guant," that he was honored with a solemn festival every near year, at the new moon in March, with vocal and instrumental music during which his priests applied themselves for an entire day to a board groaning with meat, poultry, fish, and fruits (no wonder the earlier reference to the gluttony of the priests). For the greater veneration of the King he was called the "Son of Heaven."Mention of the King led to discussion of the monthly festivals in the provinces when priests bore a portrait of the King, on gold, through the streets with great reverence. But then, citing from Maffei, Peiresc proceeded to jot down observations made about Chinese seaside towns and the domestic interior. This, in turn, led to some observations about dining—and, therefore, feasting—practices.Finally, Peiresc returned to the aforementioned medallion, whose details now seemed to him to represent just such an honorific feast. But he was especially interested in the practice of indicating the name of God with a single Chinese character, or cipher. This reminded him, he wrote, that the [End Page 676] Basilidian gnostics, as recorded in Epiphanius, represented the god of heaven with the seven Greek vowels AEHIOUY. He... (shrink)

This paper examines the importance of artist names and artistic identity, especially as expressed in artist signatures, to the interpretation of ancient Greek pottery. Attention is focused on a calyx krater signed ΣϒPIΣKOΣ EΓPΦΣEN [sic], and it is argued that the non-Greek ethnikon used as artist name encourages a non-Athenian reading of the iconography. The painted labels for all six figures on this vase, together with parallels from other Athenian red-figure vases—including others from the Syriskos workshop—all suggest the presentation of (...) an alternative, un-Athenian world view. Okeanos, Dionysos, and Epaphos are read as representing faraway lands at the edges of the Ge Panteleia, or “entire earth,” while the central figure of Themis, Greek personification of divine right, is depicted pouring a libation to Balos, the Hellenized form of the Syrian supreme god Baal, thereby recognizing his status as a supreme deity. Other overtly political messages have been read elsewhere in the oeuvre of the Syriskos Workshop, where it seems that at least two distinct artistic identities were at play—the explicitly foreign “little Syrian,” and the more conventional Pistoxenos, or “trustworthy foreigner.” When explicitly signed on vessels, these artistic identities necessarily sway interpretation, whereas on the many unsigned pieces, the viewer is left to consider which identity is at play. (shrink)

Greek tragedy is full of rituals perverted by intra-familial conflict. To mention some examples from the house of Atreus: the funeral bath and the funeral covering, normally administered to a man's corpse by his wife as an expression of ιλία, have in Aeschylus' Oresteia become instruments in the killing of Agamemnon; the pouring of libations at the tomb, normally a θελκτήριον for the dead, becomes in the Choephoroi an occasion for his arousal; Euripides has Klytaimnestra ‘sacrificed’ while performing the sacrifice (...) for her newly born grandchild. On the important question of why it is that tragedians pervert ritual I hope to shed some light in future publications. The purpose of this paper is to examine the radical form taken by the perversion of mourning in Sophokles' Elektra. In the first decade of this century the comparative anthropologists Hertz and van Gennep discovered as a widespread feature of the period of mourning its character as participation in the transitional state of the recently dead, to be ended by the incorporation of the dead person into his or her proper destination and the reincorporation of the mourners into the flow of everyday social life. The mourning relatives in a sense share the condition of the dead. (shrink)

This article attempts a new explanation of the word γονίας which makes its only appearance in the concluding lines of Aeschylus’ Libation Bearers. Though evidently qualifying the vengeance taken by Orestes, its meaning is obscure. The gist of the present argument is that the sense of the term is more clearly defined by the context than is hitherto recognised, and that it may be interpreted as a metaphorical application of a medical concept.

χαιρέτω ἡμέτερος βασιλεὺς σωτήρ τε πατήρ τε·ἡμῖν δὲ κρητῆρ’ οἰνοχόοι θέραπεςκιρνάντων προχύταισιν ἐν ἀργυρέοις· †ὁ δὲ χρυσὸςοἶνον ἔχων χειρῶν νιζέτω εἰς ἔδαφος.†σπένδοντες δ’ ἁγνῶς Ἡρακλεῖ τ’ Ἀλκμήνηι τε,Προκλεῖ Περσείδαις τ’ ἐκ Διὸς ἀρχόμενοιπίνωμεν, παίζωμεν· ἴτω διὰ νυκτὸς ἀοιδή,ὀρχείσθω τις· ἑκὼν δ’ ἄρχε φιλοφροσύνης.ὅντινα δ’ εὐειδὴς μίμνει θήλεια πάρευνος,κεῖνος τῶν ἄλλων κυδρότερον πίεται.May our king rejoice, our saviour and father; let the attendant cup-bearers mix for us a crater from silver urns; †Let the golden one with wine in his hands wash (...) to the base† Pouring libations piously to Heracles and Alcmene, Procles and the sons of Perseus and Zeus first of all, let us drink, let us play, let our song rise through the night. Dance someone, willingly begin the festivities. And anyone who has a fair girl waiting to share his bed will drink more like a man than all the others.(Ion, fr. 27 West = fr. 90 Leurini). (shrink)

As human beings we sometimes in one way or another become sick, and therefore go for treatment depending on our choice of treatment (religious perspective or Western medical treatment). Although African traditional religion is not against a Western medical way of treatment or healing process, its followers believe that there are some diseases that Western medicine cannot treat, and therefore need spiritual attention, as it is sometimes practiced in churches. This article discusses the African traditional view regarding disease, causes of (...) disease, how disease is diagnosed and treated, with a special focus on Ghana. The article also describes the role of the diviner or the African traditional priest or what others may term as ‘herbalists’. The advantages and disadvantages of the African traditional healing process are considered. The article concludes by discussing African traditional healing in the context of a contemporary health care discourse, as well as a proposal for dialogue between traditional healers, Western medical practitioners, the government of Ghana, and the governments of various countries where this issue may be applicable, to build a consensus in addressing health issues. (shrink)

Funeral Orations as Indicators of what a Good Life Ought to Be The central aim of this study was to uncover, based on funeral orations, what the Igbo of South-East Nigeria regard as the good life. Over two hundred and fifty funeral orations/tributes were investigated. These were classified into: tributes by spouses; by offspring; by close family members; by friends, associates and organizations. The study revealed that the notion of the good life among the Igbo was based on primary duties (...) and obligations at each of the four levels identified above and on related secondary duties and obligations. The good life was measured by the extent to which these duties and obligations were discharged and in the way their performance manifested in the provision of social amenities, help to educate members of the community and so on. What would ordinarily be regarded as virtues were considered desirable only in so far as they helped people fulfill their primary and secondary obligations, otherwise they were regarded as sterile or "bottled" virtues. (shrink)