The volume provides an overview of the origins of early medieval aristocratic literature. Although there are regional, linguistic and formal differences, one can observe a number of similarities. Oral literature disseminates a range of themes that are shared by narratives in most parts of the continent. The authors address these similarities in Roman, Nordic, Anglo-Saxon and Germanic literature and use different methodologies to explain them.

When The Absurd Hero in American Fiction was first released in 1966, Granville Hicks praised it in a lead article for the Saturday Review as a sensitive and definitive study of a new trend in postwar American literature. In the years that followed, David Galloway’s analysis of the writings of John Updike, William Styron, Saul Bellow, and J. D. Salinger became a standard critical work, an indispensable tool for readers concerned with contemporary American literature. The New York Times (...) described the book as “a seminal study of the modern literary imagination." David Galloway, himself an established novelist, later extensively revised The Absurd Hero to include authoritative discussions of more than a dozen novels which had appeared since the first revised edition was released in 1970. Among them are John Updike’s Couples, Rabbit Redux, and The Coup; William Styron’s The Confessions of Nat Turner and Sophie’s Choice; and Saul Bellow’s Mr. Sammler’s Planet and Humboldt’s Gift. Through detailed analyses of these works, Galloway demonstrates the continuing relevance of his own provocative concept of the absurd hero and provides important insights into the literary achievements of four of America’s most influential postwar novelists. (shrink)

Leah Phillips’ Female Heroes in Young Adult Fantasy Fiction (2023) presents an innovative and incredibly important interpretation of how gender and young adult (YA) literature intersect. For teache...

The semiotic model that disregards the normative context represented by the protagonist examines how we can distinguish the three conceptions of heroism, namely hero, semi-hero, and anti-hero. What are the methodological criteria whereby we can follow the protagonist in the text from beginning to end? To answer them, this article tries to present a model made up of five stages/criteria which constitute a semiotic model by means of which the connection to heroism can be determined. These are: (1) motivation, (2) (...) will, (3) ability, (4) execution, and (5) outcome. These stages can be logically classified into three categories: 1) Pre-action (the first three stages), 2) Action (the fourth stage), 3) Post-action (the fifth stage). The model proposed here suits all types of narrative and drama and all performance and film production arts. (shrink)

McCoy examines how Greek epic, tragedy, and philosophy offer important insights into the nature of human vulnerability, especially how Greek thought extols the recognition and proper acceptance of vulnerability. Beginning with the literary works of Homer and Sophocles, she also expands her analysis to the philosophical works of Plato and Aristotle.

Statistics play a critical role in biological and clinical research. However, most reports of scientific results in the published literature make it difficult for the reader to reproduce the statistical analyses performed in achieving those results because they provide inadequate documentation of the statistical tests and algorithms applied. The Ontology of Biological and Clinical Statistics (OBCS) is put forward here as a step towards solving this problem. Terms in OBCS, including ‘data collection’, ‘data transformation in statistics’, ‘data visualization’, ‘statistical (...) data analysis’, and ‘drawing a conclusion based on data’, cover the major types of statistical processes used in basic biological research and clinical outcome studies. OBCS is aligned with the Basic Formal Ontology (BFO) and extends the Ontology of Biomedical Investigations (OBI), an OBO (Open Biological and Biomedical Ontologies) Foundry ontology supported by over 20 research communities. We discuss two examples illustrating how the ontology is being applied. In the first (biological) use case, we describe how OBCS was applied to represent the high throughput microarray data analysis of immunological transcriptional profiles in human subjects vaccinated with an influenza vaccine. In the second (clinical outcomes) use case, we applied OBCS to represent the processing of electronic health care data to determine the associations between hospital staffing levels and patient mortality. Our case studies were designed to show how OBCS can be used for the consistent representation of statistical analysis pipelines under two different research paradigms. By representing statistics-related terms and their relations in a rigorous fashion, OBCS facilitates standard data analysis and integration, and supports reproducible biological and clinical research. (shrink)

In Chinese films with intangible cultural heritage themes, female images are an indispensable presence. Particularly, several renowned female hero figures derived from folklore literature, such as Liu Sanjie, Ashima, and Hua Mulan, stand out as symbols of both traditional Chinese heroines and the cultural zeitgeist. This paper utilizes Roland Barthes' semiotic theory to analyze the characteristics of these three representative intangible cultural heritage-themed folk literature films. By employing text analysis methods, it examines the elements of costume, dialogue, setting, (...) and plot in these films. These symbolic elements elucidate the development of female characters and cultural transformations, revealing how traditional culture is represented and transmitted in modern media. The paper also explores the crucial role and value of women in the preservation and inheritance of intangible cultural heritage, offering suggestions for better shaping the images of female heroes in intangible cultural heritage-themed films. (shrink)

The Man of Wiles in Popular Arabic Literature: A Study of a Medieval Arab Hero. By Malcolm C. Lyons. Edinburgh: Edinburgh University Press, 2012. Pp. x + 254. $105.

The study deals with the communicative interaction between the author, the hero, the text, the reader in a postmodern novel. A similar and ambiguous reality, on the one hand, sometimes led to the subjectivist hypertrophy, absolutizing the author’s world view, and at times minimized and devaluated the author’s identity, on the other. Therefore, from the end of the 1990s the ways of expressing author’s “Self” changed dramatically, which directly affected the means of creating a hero in the contemporary Ukrainian (...) class='Hi'>literature. An important place in the communicative literary model was occupied by the text as an independent semantic unit and the reader as an interpreter of the text. The specifics of deploying the dialog between the author and the hero point to the transformation of their functions in the Ukrainian postmodern novel. Considering the statement of the death of the author proclaimed by R. Barthes, the former stops being the main holistic text creator, thus rather becoming its product and the way of expression. The author, the hero and the text have a certain integrity aimed at the interpretative game with the recipient, who diffuses the newly created semantic integrity into a diversity of meanings. (shrink)

Textbooks and manuals on management suggest that managers are heroes who deal with difficult problems of collective adaptation and change. American films are similarly built on the premise of a hero confronted with extremely difficult situations. What if this hero figure promoted for so long in both management literature and the American film industry was the same at the structural level? This paper will attempt to clearly define the ethical performance of heroes that is perhaps shared by (...) the imagination industry and the workplace on the long run. We shall follow this picture of a hero-leader in the ethics of business and cinema through a large corpus of movies and writings on management and provide a set of six features for examining both, a common heroic structure we shall call the Hero-Leader Matrix. (shrink)

In the great kingdoms of ancient Mesopotamia, the king’s power was often evoked by means of lion symbolism. This has led scholars to conclude that lion motifs, and especially that of the lion-slaying hero, in early Greek art and literature were cultural borrowings from the more populous and urbanised civilisations to the east. Yet it is also notable that the Greek tradition, at least from the time of the Homeric poems, tended to problematise the ethics of the leonine man. (...) This article explores the function of lion imagery in narratives of elite masculinity in western Asia and early Greece respectively. It will argue that Greek myth and epic reflect on and problematise any potential equation between lions and kingly prestige, power and masculinity, instead drawing attention to the savagery and social isolation of the lion-like man-of-power, and his difficulty in conforming to the expectations of civilised society. (shrink)

Comments on the view of life shared by existential protagonists in six works by Woolf, Greene, Golding, Faulkner, Ellison, and Malamud.

The starting point of this paper is a recent exchange in the Journal of Aesthetics and Art Criticism1 that pits moderate moralism against robust immoralism and has Humean antecedents. I will proceed by agreeing in part with both, but fully with neither, thereby annoying as many people as possible in one go. I believe, with Anne Eaton, the proponent of robust immoralism, that fictions which valorize what she calls "rough heroes" can arouse both aesthetically compelling and morally troubling reactions. (...) On the other hand, I argue that the troubling moral reaction targeted need not be a sufficient ground for attributing a moral flaw to the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Constructing Literature in the Roman Republic: Poetry and Its ReceptionJoseph FarrellSander M. Goldberg. Constructing Literature in the Roman Republic: Poetry and Its Reception. Cambridge: Cambridge University Press, 2005. xii + 249 pp. Cloth, $70.Just what forces in the earlier centuries of the Roman Republic gave shape to the literature of the late Republic and early Principate is an old question that has received new interest (...) in recent years. Sander Goldberg suggests that to put the question as I just have is to put things backwards. In this book he argues that it is not so much a matter of how earlier literature shaped later literature but rather of how scholars and readers in the late Republic converted the poetic remains of earlier centuries into "literature." For Goldberg, literature in the fullest sense did not exist at Rome before a sufficiently large and critically sophisticated reading public had emerged, and until the available texts had been collected, studied, and canonized; and this process, he believes, did not happen or at any rate was not complete until the time of Cicero and, especially, Varro. The latter, one of the heroes of Goldberg's story (and rightly so), was instrumental in (for instance) turning the scores of plays that traveled in his day under the name of Plautus into an authenticated oeuvre of the sort that defines literature: a corpus that can be owned, read and reread, studied, commented upon, argued over, and shared by a community of more or less like-minded, cultivated individuals. Literati, in fact.The idea is developed over a series of six chapters, plus an introduction and "Retrospective." The chapters are advertised as framing a continuous argument but also as capable of being read independently. They are arranged chronologically and bracketed thematically or imagistically by two arrivals: that of the Muse under the aegis of Rome's earliest poets and that of the one desired by Ovid, if not for himself back into Rome then for his works into the state-sponsored collection in the Palatine library. To my mind chapters 2 ("Constructing Literature") and 3 ("Comedy at Work") are the core of the book, as I have hinted [End Page 283] above and will explain further below; but subsequent chapters on tragedy (4, "Dido's Furies") and satire (5, "Enter Satire) offer novel commentaries on the history of these genres.In staking out his position, Goldberg distinguishes himself from two groups who already are rather at odds with one another. On the one hand there are those who think that Roman literature was indeed already literature from "the beginning"—i.e., from the time of Livius Andronicus. On the other are those who might agree with Goldberg that the Romans did not invent literature until the dying days of the Republic but who give credit (or blame) for this achievement mainly to a relatively small group of elite writers. So it will be fascinating to follow the reception of Goldberg's argument in both these camps. I, for my part, would not want to predict what effect the argument will have. Instead, I will mention what strike me as some of Goldberg's more salient points and will add a few comments by way of reaction.The decision to focus on readers strikes me as a positive contribution. Roman literary culture did not just happen, nor was it or could it have been created by writers alone. A public that wanted there to be a literature in Latin, one that was alive to ideas but also to the techniques that writers used to convey these ideas, was essential. Beyond this, scholars and teachers interested in the texts themselves and in showing readers what to do with them, scholars who were ambitious to create a culture of learning similar to the one that had for generations supported Greek literature, played an enormous role. Of course the writers are more visible to us, both as writers and as a peculiarly important audience for one another's work. But even in the smallest estimate of the literate population, there were many more readers than writers, and these numbers of readers are surely as important or more... (shrink)

Ekphrasis is familiar as a rhetorical tool for inducing enargeia, the vivid sense that a reader or listener is actually in the presence of the objects described. This book focuses on the ekphrastic techniques used in ancient Greek and Roman literature to describe technological artifacts. Since the literary discourse on technology extended beyond technical texts, this book explores 'technical ekphrasis' in a wide range of genres, including history, poetry, and philosophy as well as mechanical, scientific, and mathematical works. Technical (...) authors like Philo of Byzantium, Vitruvius, Hero of Alexandria, and Claudius Ptolemy are put into dialogue with close contemporaries in other genres, like Diodorus Siculus, Cicero, Ovid, and Aelius Theon. The treatment of 'technical ekphrasis' here covers the techniques of description, the interaction of verbal and visual elements, the role of instructions, and the balance between describing the artifact's material qualities and the other bodies of knowledge it evokes. (shrink)

Empirical tests described in this article support hypotheses derived from evolutionary theory on the perceptions of literary characters. The proper and dark heroes in British Romantic literature of the late eighteenth and early nineteenth centuries respectively represent long-term and short-term mating strategies. Recent studies indicate that for long-term relationships, women seek partners with the ability and willingness to sustain paternal investment in extended relationships. For short-term relationships, women choose partners whose features indicate high genetic quality. In hypothetical scenarios, (...) females preferred proper heroes for long-term relationships. The shorter the relationship under consideration, the more likely women were to choose dark heroes as partners. (shrink)

The Platonist Proclus (c. 412-485 CE) identifies the procession of the angels, daimons, and heroes as operating three universal temporal potencies through which we experience time in the forms of past, present, and future, respectively. This essay explicates the Proclean doctrine of the three forms of time in its context within his system and its wider implications, with particular reference to the form of temporality associated with the heroes. Proclus’ schematic account of heroic temporality offers a systematic metaphysical (...) framework for key themes in the Hellenic literature and cultus of heroes, in particular the dialectic of untimeliness and seasonality in the hero as discussed by Nagy. The heroes are seen to embody a universal relationship of mortal beings to time. In an excursus, the relationship of heroes to time is compared to that of cinema as image of time. (shrink)

This dissertation is an effort to describe the effects of Postmodern thought in a variety of narrative forms, including novels, film, and computer games. Using Brian McHale's description of the focal point of Modernist narratives as being epistemological and Postmodernist narratives as being concerned primarily with ontological issues, I trace the possible meaning of the changing understanding of these concepts in the twentieth century. In addition, I interrogate the ramifications of the Postmodern resolution to the crisis of epistemology presented through (...) the work of Modernist writers to test whether or not the Postmodern idea of "claiming worlds" is, indeed, a reasonable or viable resolution to this crisis. ;It is my contention that a changing sense of the relationship between the definitions of epistemology and ontology in traditional literary narrative has been affected by and has affected the narratives of less traditionally "literary" media. In order to show that this change has occurred, I use a number of texts to serve as examples, first, of the conception of epistemology as presented in Modernist works like James Joyce's "The Dead" and Edith Wharton's A Son At the Front and then of the conception of ontology as presented in Postmodernist work like Salman Rushdie's Midnight's Children. I then examine more popular narrative forms to examine how Postmodernism's focus on what I term an "epistemologically derived ontology" has crept into the general culture. My specific examples in these cases are Norman Spinrad's cyberpunk novel Little Heroes , the film The Matrix, and a number of video games, particularly online games. ;My final conclusions are exemplified by the film Memento, which contains many of the Postmodern tenets I propose are typical of mainstream Postmodern works and which also serves as a basis for revealing some of my ethical concerns about the ramifications of this shift in understanding of the aforementioned philosophical categories. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.2 (2002) 293-297 [Access article in PDF] Angela Hobbs. Plato and the Hero: Courage, Manliness, and the Impersonal Good. Cambridge: Cambridge University Press, 2000. xviii + 280 pp. Cloth, $59.95. Hobbs directs this stimulating but rather unfocused study to a question of considerable interest and centrality in Platonic studies: the engagement of Platonic texts with the traditional Greek ethic of heroic endeavor. As she is (...) able to show, the Platonic texts appropriate much of the traditional language and ideology familiar from archaic literature to a new paradigm in which the eccentric [End Page 293] figure of Socrates is the exemplar. Hobbs emphasizes the rhetorical value of this approach, in that it could help to make the image of philosophy accessible and appealing to the young men whom Plato wished to attract as students and colleagues at the Academy. She points to the difficulties of this appropriation, however; and more can be said about the problems that it poses for Platonic rhetoric.The most cogent and interesting analysis in the book is dedicated to the Republic. Hobbs is able to show the connection between traditional concepts of andreia and the function of the soldier class of the ideal city, the thumoeideis. She traces to a common source the apparently various aspects of Plato's thumos and its corresponding social class—readiness to anger, concern for social status, an intense sense of shame, and indignation at unfairness. Platonic thumos represents "the need to form an ideal image of the self in accordance with one's conception of the fine and noble [kalon]." When the image is threatened, "anger, self-disgust and shame are likely to be the result. This ideal of oneself also needs to be confirmed by social recognition: others must treat one in accordance with one's self-image" (30).Hobbs demonstrates that the susceptibility of the thumos element to the kalon is key to the training of the guardian class from childhood, when intellectual understanding is less developed. She has interesting things to say about the role of the kalon in the value schemes of the Republic and Symposium (222-31), arguing that, as a Form, it must ultimately be identical with the Good (agathon), but that the kalon, because of its greater accessibility to an undeveloped intellect, is an easier way to begin the ascent toward the ideal. She effectively connects the concept of the thymoeidic personality to the description of the timocratic man in Republic 8.549c-550b, and, in the middle chapters of the book, to Callicles in the Gorgias, whose motivation, she argues, is primarily thymoeidic or timocratic, since he values sensual indulgence primarily as a token of the power and autonomy desired by the lover of prestige.While Hobbs is certainly right to use Achilles as the exemplar of the traditional ethic that Plato confronts, she is less successful in arguing that Achilles is a central figure in the Republic. In fact, as she points out, he disappears altogether from the myth of Er, where he is replaced by Aias. Achilles cannot be connected with the Platonic concept of thumos in its positive aspects once it has been argued that he is depicted as greedy and impious (390e, 391c). A number of Hobbs's other claims, that Platonic texts identify Socrates with Odysseus, or that Achilles performs his heroic acts through fear of death, are not supported by an adequate textual analysis. Hobbs tends to push a single allusion out of its context to reach extreme speculative conclusions. That Socrates in the Protagoras (315b9 and c8) quotes Odysseus' words ("And then I noted him," "And I also saw Tantalus") as he lists famous figures in Hades does not necessarily mean that Socrates becomes an Odysseus figure: such an identification would require more than these passing allusions, which function quite sufficiently as an ironic comment on the viewing of celebrities. That Homer's Achilles refers to the bleakness [End Page 294] of life in the underworld or emphasizes what he loses by his heroic choice does not mean that... (shrink)

The idea of heroism has become thoroughly muddled today. In contemporary society, any behavior that seems distinctly difficult or unusually impressive is classified as heroic: everyone from firefighters to foster fathers to freedom fighters are our heroes. But what motivates these people to act heroically and what prevents other people from being heroes? In our culture today, what makes one sort of hero appear more heroic than another sort? In order to answer these questions, Ari Kohen turns to (...) classical conceptions of the hero to explain the confusion and to highlight the ways in which distinct heroic categories can be useful at different times. Untangling Heroism argues for the existence of three categories of heroism that can be traced back to the earliest Western literature – the epic poetry of Homer and the dialogues of Plato – and that are complex enough to resonate with us and assist us in thinking about heroism today. Kohen carefully examines the Homeric heroes Achilles and Odysseus and Plato's Socrates, and then compares the three to each other. He makes clear how and why it is that the other-regarding hero, Socrates, supplanted the battlefield hero, Achilles, and the suffering hero, Odysseus. Finally, he explores in detail four cases of contemporary heroism that highlight Plato's success. Kohen states that in a post-Socratic world, we have chosen to place a premium on heroes who make other-regarding choices over self-interested ones. He argues that when humans face the fact of their mortality, they are able to think most clearly about the sort of life they want to have lived, and only in doing that does heroic action become a possibility. Kohen's careful analysis and rethinking of the heroism concept will be relevant to scholars across the disciplines of political science, philosophy, literature, and classics. (shrink)

Energy justice literature generally treats its three tenets, distributional justice, procedural justice and recognition justice, as separate and independent issues. These are seen as separate dimensions by which criteria can be formulated for a just state of affairs. And a just state of affairs regarding energy should fulfill all criteria. However, we show, using empirical research on six European energy communities that the tenets of energy justice are interdependent and negotiated in practice. We show this interdependency using three core (...) concerns of justice—risk, effort and power—which we identified through our empirical work. Our findings reveal that community members are often willing to take risks and put in effort, if they are compensated with more power within the community. Similarly, members are willing to compromise power if no effort or risk-taking is required from them. This demonstrates the interdependency of the tenets “procedural justice” and “distributional justice” within energy communities. We reflect on the need for energy justice theory and policymakers to recognize the significance of this interdependency. (shrink)

Jetzt beim Akademie Verlag: Sammlung Tusculum - die berühmte zweisprachige Bibliothek der Antike! Die 1923 gegründete Sammlung Tusculum umfasst ca. 200 klassische Werke der griechischen und lateinischen Literatur des Altertums und bildet damit das Fundament der abendländischen Geistesgeschichte ab. Die Werke Ciceros, Ovids und Horaz’ gehören ebenso zum Programm wie die philosophischen Schriften Platons, die Dramen des Sophokles oder die enzyklopädische Naturgeschichte des Plinius. Die Reihe bietet die weltliterarisch bedeutenden Originaltexte zusammen mit exzellenten deutschen Übersetzungen und kurzen Sachkommentaren. Von renommierten (...) Altphilologen betreut, präsentiert Tusculum zuverlässige Standardausgaben mit klassischer Einbandgestaltung für Wissenschaftler und Bibliotheken, Studenten und Lehrer sowie das allgemeine Publikum mit Interesse an antiker Dichtung und Philosophie. Der Name der Reihe geht auf die ehemalige Stadt Tusculum in Latium zurück, in der Cicero eine Villa besaß, die ihm als Refugium diente und in der er die Tuskulanen verfasste. Neben der hochwertig ausgestatteten Hauptreihe erscheinen in der Serie Tusculum Studienausgaben einschlägige Texte für Universität und Schule im Taschenbuch. Im Akademie Verlag startet die Reihe 2011 mit sieben wichtigen Neuerscheinungen. (shrink)

The article presents an analysis of the existential paradigm of M. Lermontov's creativity in the light of the existential theories of S. Kierkegaard and K. Jaspers, which is considered in the context of the cultural transition in Russian literature of the 1830s-1840s. It is argued that Lermontov radically changed the nature of his literary activity by the mid-1830s, overcoming his own existential ambivalence and abandoning the subjective emotionality and exoticism of his youthful poetry in favor of objective observations and (...) research of the surrounding world. Lermontov was aware of his existential ambivalence and sought to overcome this state in order to achieve cultural integrity, which should be considered as one of his main values. Lermontov's works reflect the concept of integrity as the integration of culture through a set of prevailing norms and ideals, as well as the feeling that this integrity was disintegrating in transitional times. This state of affairs caused a sense of disintegration in Lermontov, which is similar to the borderline situation of Jaspers. Lermontov's works illustrate the loss of cultural ideals with the decline of Romanticism. But rejecting the ideals of Romanticism, Lermontov conveys the feeling that post-Romantic disappointment generated cynicism and distorted thinking. The novel "The Hero of Our Time" has become the embodiment of such shortcomings. Lermontov's works do not belong to romanticism, nor to protorealism, nor to any combination of both. But Lermontov played his transitional role superbly. Not only did he raise questions about Romanticism that realism would later make its own, he also shed light on Romanticism itself and how it was fading. Lermontov showed how difficult it is for an artist who is aware of his own existential ambivalence to create and live in a transitional time devoid of a unifying sense of cultural integration and integrity, illustrating how badly a creative personality needs such integration and integrity. (shrink)

This article aims at studying the evolution of the woman-dragon relation by comparing texts from English and French medieval literature and contemporary fantasy literature texts, in French and English as well. We will first determine the similarities between the two corpora, especially regarding the narrative triad composed of the knight, the princess and the dragon. We will then deal with the reorganization of the narrative space by examining the shift in focalization from the knight to the woman and (...) the dragon, thus placing them as heroes of the story. We will eventually try to explain the evolution of the values born by these two characters and demonstrate if there is, or not, a new woman-dragon relation in contemporary literature. (shrink)

It seems that every culture shares a figure who tricks and transgresses rules even if at the same time he is a Cultural Hero. Based on a classification of some basic characteristics common to all tricksters, and despite the fact that contradiction and ambiguity are fundamental for their identity, this paper deals with trickster’s traces in several Medieval Literature characters as Loki, Renart, Tristan, Merlin, robin Hood, and the anonymous mischievous deceiver of short stories.

The disease of love appears in an unbroken chain of medical treatises stretching from sixth-century Byzantium through the Middle Ages to post-Renaissance Western Europe. Lovesickness, known variously as amor eros, amor heros, or amor hereos in medieval Latin medical texts, has attracted the attention of literary scholars because many of its symptoms correspond to conventional signs of love in medieval literature. According to George Lyman Kittredge, “What to the physician were symptoms … became, in the chivalric system, duties — (...) ideals of emotion which the true lover must live up to, and which the hypocrite takes pains to counterfeit.” In the late thirteenth century the Catalan physician Arnald of Villanova explicitly compared the disease of love and feudal service in his Tractatus de amore heroico. He claimed that this love “is called heroic as though lordly , not only because it befalls lords, but also either because it dominates, subjugating the soul and ruling a man's heart, or because the acts of such lovers toward the desired object are similar to the acts of servants toward their lords.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Achilles and Hector: The Homeric HeroBryan R. WarnickAchilles and Hector: The Homeric Hero, by Seth Benardete. South Bend, IN: St. Augustine's Press, 2005, 140 pp., $17.00 cloth, $10.00 paper.Seth Benardete (1930-2001) was one of the twentieth century's premiere scholars of the classical world. His prominence was largely due to his technical excellence in both ancient philosophy and classical philology, a rare combination that allowed him to become, as (...) Harvey Mansfield has written, "Our greatest student of the relation between poetry and philosophy."1 He wrote groundbreaking discussions of Greek literature (especially the tragedies) and the Platonic dialogues. His work culminated in his study of The Odyssey, The Bow and the Lyre (1997), a book that compared the plot of epic poetry to the development of a Platonic dialogue.Before Benardete achieved lasting fame, however, he was a doctoral student at the University of Chicago, working with Leo Strauss and the Committee on Social Thought and developing friendships with people like Allan Bloom. The writing of his dissertation is the stuff of scholarly legend. According to the story, it developed from a pile of nonsensical notes on the Iliad to a work of budding genius in four weeks. This dissertation, "Achilles and Hector: The Homeric Hero," was published in St. John's Review in 1985, and it has now been reprinted so that we can examine for ourselves the significance of Benardete's early work.As the title suggests, Benardete's dissertation looks at the theme of heroism in Homer, focusing on the Iliad. He examines the relationships between the poem's smallest parts and its largest themes. The book is divided into two sections. In the first section, Benardete grapples with how the small components of the Iliad, the epithets and similes, work together meaningfully to inform the larger heroic themes of the epic. The second section examines Homer's view of the tragic hero through an analysis of the plot. The analytic skill exhibited in both sections is fascinating: some parts of the study are brilliant, others strained, but none are boring.Benardete's purpose in the first section, he says, is to "vindicate the epithets" (135). This vindication is necessary because, as scholarship on the oral nature of the Homeric epics has developed, the significance of the smaller components has seemed to diminish. The epithets and similes have come to be seen as mere crutches for the oral poet; they are linguistic tools whose characteristics allow them to be plugged into Homer's unrelenting dactylic hexameter whenever a particular rhythmic pattern is needed. The poet uses the epithet of "swift-footed" Achilles, then, not so much because he particularly wants to say something meaningful about Achilles' swiftness, but because the particular rhythmic pattern of the epithet is a handy way to complete a line of poetry. The meaning of things like the epithets in any particular moment, it has seemed to many, should therefore be taken with a grain [End Page 115] of salt. In contrast, Benardete wants to argue that each particular use of an epithet has a significant meaning that informs, and even constructs, the epic's larger themes (for Benardete's purposes, the theme of heroism).Benardete's success in this goal is somewhat uneven, as even he later came to realize. A few of his conclusions appear rather stretched and neglect to consider the whole in the analysis of the parts. For example, Benardete looks at the Trojan epithets megathymoi ("great spirited") and hippodamoi ("tamers of horses") and finds them to be two manifestations of a constant Trojan character. One epithet is for the activities of war (megathymoi), the other one for peace (hippodamoi). But for Benardete, they both say the same thing about the constantly emotional, almost animalistic nature of Homer's Trojans, who are perfectly defined by passionate warfare: "The Trojans are more readily affected than the Achaeans, who can remove their armor and be different in peace than in war: but the Trojans cannot so easily shake off their temper" (21). While certainly interesting, such an analysis neglects to take into account prominent scenes like the one in which Astyanax, Hector... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Influence of Anxiety and Literature's Panglossian NoseMichael AustinIScheherazade may be the protagonist of The Thousand and One Nights, but her stories are the heroes. Her audience for these stories consists only of her sister and her husband, the great sultan Shahryar, who three years earlier had vowed to avenge his wife's infidelity by marrying a new woman each night and executing her the following morning. With (...) the supply of virgins in the kingdom running short, Scheherazade forces her father, the royal vizier, to allow her to marry the Sultan, assuring him that she has a plan to end his bloody practice. Her plan is simple: every night, Scheherazade tells Shahryar a piece of a story. Many of these stories are overtly didactic, and some are even thinly veiled allegories of Shahryar's own situation, but Scheherazade aims to do more than simply rehabilitate the sultan with pedagogically sound morality tales. She weaves her stories together, often using multiple frames and levels of embedded narrative, to make sure that the night always ends in the middle of at least one story, and, each morning, the Sultan postpones his sentence of death one day so he can hear the conclusion.Scheherazade's gambit succeeds—with the Sultan and with readers everywhere—because it taps into a very deep human need for literature, which, broadly defined, includes folk tales, songs, oral epics, and other forms of narrative expression. Stories have been a source of pleasure for human beings for a long time—much longer than there have been writing systems to record them. And, during all this time, as Paul Hernadi writes, "the pleasure of succumbing to literary seduction has long served as a psychological reward for what was once and perhaps still is [End Page 215] a biologically advantageous thing to do."1 Scheherazade's stories give Shahryar pleasure—more pleasure, arguably, than the sexual encounters that precede them. In more than a thousand marriages (assuming three full years since he began the practice), sexual pleasure never entices the sultan to suspend his vow. With an entire kingdom full of potential wives, of course, he need never fear an end to such pleasures. The pool of wives who can bring the pleasure of narrative to the marriage bed is much smaller indeed.But pleasure alone cannot explain Scheherazade's success; if it could, she would not have to end each night in the middle of a story. By doing so, she combines the pleasure of narrative with the anxiety of incompleteness. Scheherazade's cliffhangers work on Shahryar for the same reason that they work on us today: we expect to find out what happens in a story, and we experience anxiety when this expectation is frustrated. This anxiety is just as deeply rooted in biology and natural selection as the "pleasure of succumbing to literary seduction." Most of the things that produce great anxiety in people—such as snakes, spiders, fire, high places, large bodies of water, contaminated surfaces, and unknown social situations—constitute very real threats to our survival. Anxiety is nature's way of telling us to pay extra attention around potentially dangerous things or to take steps to avoid such things whenever possible. Pleasure and anxiety work hand in hand, as carrot and stick, to encourage, or discourage, the same fitness-enhancing behaviors. Eating when we are hungry gives us pleasure; wondering where our next meal is coming from gives us anxiety.The pleasure and anxiety that we experience in literature are neurologically indistinguishable from the same responses that we experience in the life-or-death situations for which they were designed. According to John Tooby and Leda Cosmides, "fictional worlds engage emotion systems while disengaging action systems.... An absorbing series of fictional events will draw out of our mental mechanisms a rich array of emotional responses—the same responses that would be appropriate to those same events and persons if they were real."2 The ability to respond in this way appears to be unique to human beings, but it also appears to be a universal element of human nature. People everywhere tell and respond to stories, and many people devote considerable... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary like (...) the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.2 (2001) 373-376 [Access article in PDF] Book Review Why Literature Matters: Permanence and the Politics of Reputation Why Literature Matters: Permanence and the Politics of Reputation, by Glenn C. Arbery; 255 pp. Wilmington, Delaware: ISI Books, 2001, $24.95. Over the last decade or so, there has appeared an increasing number of books critical of the profession of literary studies. Such criticism has (...) typically been directed at literary theory and its preoccupation with the politics of race, class, and gender. To a limited extent, Glenn Arbery's Why Literature Matters: Permanence and the Politics of Reputation can be classified as belonging to such a "genre." Early in the book, for example, Arbery argues in favor of the "old-fashioned" idea, as he calls it, that literature is a "mode of knowledge" with the potential to open up transcendent modes of experience. Yet Why Literature Matters is so short on polemics and so long on incisive, sometimes brilliant readings of works ranging from the poetry and fiction of Seamus Heaney, Tom Wolfe, Toni Morrison, and Emily Dickinson to Shakespeare's Othello and Homer's Iliad, that such a characterization is insufficient at best and distorting at worst. Notwithstanding its title, this book is devoted less to advancing a polemic about "why literature matters" than to dramatizing, with performative power and grace, why most of us, politically oriented or not, are already quite sure that it does.Such performative power can be felt throughout Why Literature Matters, but [End Page 373] its presence is especially strong in the final, lengthy chapter on the Iliad, "The Sacrifice of Achilles." Bringing to bear his training as a classical scholar, Arbery contends that the Iliad is "about" a single event: the death or "sacrifice" of Achilles. Achilles, Arbery notes, was not just the greatest hero of the Iliad. He was also the greatest hero of the entire classical world: "Achilles has no rival in glory, either in the generation of heroes before him (not even Herakles), or in the ages after him. According to Plutarch, Julius Caesar wept because he had not accomplished as much as Alexander at the same age, but Alexander the Great envied Achilles."Why, then, does Arbery refer to Achilles' death as "sacrificial"? Drawing on a version of the Greek myth whose source is Pindar rather than the more commonly cited Hesiod, Arbery observes that Achilles' sacrificial death, which is not in fact narrated in the Iliad but is everywhere taken for granted, was necessitated by Zeus' successful plan to forestall a prophecy. That prophecy said that a son would be born to Zeus and the goddess Thetis, who would overthrow the Olympian god as Zeus had overthrown the Titans. Such a son, prophesized to be not the greatest of mortals but, much more, the greatest of gods, would have been--should have been, from Achilles's justly embittered standpoint--Achilles. But in fact Zeus foiled the prophecy by marrying Thetis off to a mere mortal, Peleus, thereby ensuring his own continued reign and Achilles' eventual death.It is the burden of Arbery's discussion to show not just that Achilles comes to accept and even "will" his own death, but that the meaning of such sacrificial death is embodied and given "presence" in the poetic form and language of the Iliad, including especially the descriptions of Patrocles and Hector, each of whom "inhabits the meaning of Achilles" by dying, successively, in Achilles' armor. Arbery goes so far as to compare Achilles' sacrifice with Christ's, asserting that reading the Iliad "in ignorance of the central importance of the marriage of Peleus and Thetis [is comparable] to reading [Dante's] Inferno (where references to holy things are scarce) in ignorance of the existence of Christ."Arbery makes clear, however, that it is the differences, rather than the similarities, that are most important in such a comparison. Those differences revolve around three issues. First, whereas Christ is a deity who sacrifices himself for humanity, Achilles is a mortal who sacrifices himself for the gods. Second, whereas humanity gains ultimate... (shrink)

Hans Christian Andersen is a cultural icon, and his fairy tales are famous around the world. But despite the positive ring to this description, his status as a canonized author poses a challenge when he is passed on to new generations of readers. In this article, we show examples of how this challenge reveals itself in Danish primary school teaching where Andersen is an obligatory figure in the subject Danish where he is frequently framed as a national romantic author of (...) morally unambiguous texts. Taking the current use of “The Ugly Duckling” (1844) in primary school teaching materials as a point of departure, we aim to show Andersen’s potential to be presented as an element in primary school teaching that draws on dialogic inquiries rooted in Philosophy with Children. Philosophical inquiries are characterized by an open mindset that incite teachers as well as school children to engage with the rich ethical themes and literary qualities of Andersen’s fairy tales. We conclude the article with our own inquiry manual to “The Ugly Duckling” to illustrate a way to overcome the current hegemonic framing of Andersen and reopen his fairy tale for future discussions and interpretations. (shrink)

In recent decades, the philosopher William Desmond (1951-) has offered both insightful readings of individual tragedies and a striking reformulation of old Aristotelian standbys like hamartia and catharsis. This reformulation grows out of his wider philosophy of the “between,” which stresses humans’ fundamental receptivity or “porosity.” For Desmond, tragedy strips away characters’ self-determination and returns them to porosity. The audience is returned to porosity as well, a process of exposure that can be harrowing, and at times leads to despair, but (...) that can also lead, in Desmond’s take on catharsis, to a renewed sense of the worth of fragile beings. Both tragic “being at a loss” and catharsis are important for philosophy because they resist determinate conceptualization. Tragedy reminds philosophy of its limits, and it challenges philosophy to attend to the intimate and the singular. This essay situates, synthesizes, and extends Desmond’s many reflections on tragedy. It focuses in particular on Shakespeare's Macbeth and King Lear. (shrink)