C’est sur la scène tragique - dans les oeuvres d’Euripide, particulièrement -, face au public masculin de la cité, que les femmes grecques viennent crier la douleur de la maternité. Caisse de résonance de douleurs et de malheurs. De la douleur la plus féminine, celle d’enfanter, bien sûr, mais aussi du malheur le plus féminin : celui d’être apais. Certes, l’homme sans descendance souffre de cette vacuité, mais cette tare d’être sans enfant, c’est seulement pour la femme qu’elle s’étend (...) à tout ce qui n’est pas le statut de félicité, celui de femme eupais. En effet, la femme apais, c’est aussi bien celle dont l’enfant est mort que celle à laquelle on a vite fait d’attribuer la stérilité du couple. C’est aussi celle que son âge, le délaissement dont elle est l’objet, font classer dans la catégorie des femmes vides. Coeur de la vraie vie des femmes, image fortement corporelle, la maternité constitue le pôle d’excellence, le seul vrai but de l’existence. La vierge s’y prépare à remplacer sa mère qui souffre d’abandonner ce en quoi elle s’est réalisée. (shrink)

Considérant le travail psychique auquel nous sommes contraints – depuis l’excitation à la satisfaction pulsionnelle, mise en mouvement sublimée, inhibée « ou non » quant au but, avec ou sans abandon à la jouissance –, l’auteur tente d’approcher des mouvements d’installation identitaire (fonction, rôle, sexe, génération) à l’aide d’appuis théoriques et cliniques à travers deux cas d’analyse.

Cet article aborde, à partir de la répétition des maltraitances sur enfant dans la relation mère-fille, la fonction du processus de cette répétition selon la théorie freudienne et lacanienne dans un dispositif de soin dans le cadre de la pjj. Une vignette clinique met en évidence que l’insistance de la répétition du fantasme d’infanticide dans la généalogie féminine ne se réduit pas à la narration du traumatisme infantile mais devient une interrogation à l’adresse du Grand Autre pour se (...) définir comme sujet désirant, différent, afin de se soustraire à ce fantasme. Si cette demande sous-jacente à cette répétition n’est pas entendue par les professionnels, les institutions qui sont mis à l’épreuve, dans le transfert et le contretransfert, au profit de la fonction victimaire chez le sujet, les réponses apportées dans la réalité ne pourront que contribuer à assurer la jouissance mortifère de ce dernier dans la transgression, mettant en échec la fonction symbolique de la Loi. Les auteurs montrent, à travers l’efficacité du transfert et de la fonction symbolique de la Loi, que la psychanalyse sans divan peut s’adapter à une clinique du réel, clinique qui peut parfois réinterroger la théorie. (shrink)

À partir des principaux résultats d'une recherche sociologique réalisée en 1992, l'auteur montre dans ce texte quelles furent les pratiques et les théories du mouvement féministe français contemporain à l'égard des thèmes de la maternité et de l'éducation. En utilisant deux catégories de sources ­la presse de ce mouvement social et les témoignages actuels des militantes-, l'auteur conclut à la faible prise en compte de ces deux thèmes par les féministes, un silence qu'elle explique par des raisons tout à la (...) fois sociologiques (le statut social dominant des militantes), historiques (l'absence de transmission d'une génération de féministes à une autre) et idéologiques (la croyance en une libération immédiate des femmes). Puis elle révèle quelques-unes des pratiques pédagogiques que, en dépit d'un tel contexte, des militantes mères de petites filles et de petits garçons ont tenté d'élaborer et de mettre en pratique durant la même période (1970-1980). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 1.1 (2000) 149-153 [Access article in PDF] Sophie Mills. Theseus, Tragedy and the Athenian Empire. Oxford: Clarendon Press, 1997. x 1 293 pp. Cloth, $98. Interest in Theseus continues to run high; this decade alone has seen the publication of three books devoted to the hero and his meaning for Athens: Claude Calame's Thésée et l'imaginaire athénien (Lausanne 1990), Henry Walker's Theseus and Athens (New (...) York 1995), and now Sophie Mills's revision of her 1992 Oxford dissertation. Calame's brilliant study is in a different category from those of Mills and Walker, since his central focus is the relation of myth and cult, for which Theseus provides a rich and complex example. Walker and Mills are much closer in aim and scope, but their intellectual styles are different, as are many of their conclusions. Walker probes the sources for signs of internal tensions and contradictions, and finds them. Mills looks for ideologically consistent elements, and finds them. Both approaches have value. Mills footnotes particular items of convergence or disagreement with Walker but does not attempt a full-scale confrontation of views, which is no doubt just as well.Mills's first two chapters canvass a wide range of evidence for the myth of Theseus and its meanings. "Images of Theseus before Tragedy" is devoted to showing how Athenian or Athenian-inspired sources of the Late Archaic period take the often unpromising material found in the oldest strata of the legend and transform it to produce a national hero, that is, a figure who embodies "the best qualities of the nation in its own eyes" and can be recreated as the idealized image of Athens changes, "so as to present consistently an ideal standard of conduct" (25). "The Athenian Image of Athens" surveys the ideal of Athens in the fifth and fourth centuries, arguing that a consistent image (essentially that of the surviving epitaphioi logoi) can be found in nearly every relevant source. For Mills, the funeral encomia present in exaggerated form an ideology that "pervades mainstream Athenian thought about Athens and Athenian identity" (52). She argues that Thucydides stands outside the mainstream; his "cynicism and desire to expose the falsehood of popular ideology should... not be used as an indication of what the average Athenian generally felt about the empire" (85).The ideal Athens is portrayed in the "mainstream" tradition, with only changes of emphasis over time, as a civilizing force, whose military strength and cultural superiority go hand in hand. Stories and imagery combine to present Athens as "the only truly Greek city" (59) in its courage and daring, its steadfast pursuit of justice, and its generosity in dealing with others, and thus support the claim that Athenians are not merely superior to barbarians (as are all [End Page 149] Greeks) but different from and better than other Greeks. And if Athens is a super-Greek city, "Theseus, as its representative in tragedy, is a kind of super-Greek" (60). All of this is to some degree a useful corrective to the emphasis on discomfort and equivocation in many recent studies of Athenian ideology. One may not be entirely convinced (I shall express some of my own reservations below), but the case is made intelligently, using a wide array of ancient sources and relevant modern scholarship.The heart of the book is a sequence of three chapters devoted to Mills's analysis of three tragedies (Euripides' Suppliants and Heracles and Sophocles' Oedipus at Colonus) in which Theseus appears in his role of Athenian king and embodiment of the Athenian ideal. Given the views I have just outlined, there is little that surprises in these interpretations and, indeed, little that could be called new, but no one else has made the case that Theseus embodies a coherent image of the ideal Athens with such thoroughness or argued for its significance with such cogency. Discussing Heracles, Mills is careful to recognize that Theseus and Athens can only go so far in alleviating the suffering that seems to be an inevitable part of human... (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected to (...) have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Andromache and Euripidean TragedyNancy Sorkin RabinowitzWilliam Allan. The Andromache and Euripidean Tragedy. Oxford Classical Monographs. Oxford: Oxford University Press, 2000. xii + 310 pp. Cloth, $70.This is a workmanlike study of Euripides' Andromache, with a good and up-to-date bibliography. Allan's monograph successfully takes on most of the (many) significant criticisms of the play, in particular those concerning its alleged disunity, and argues that the play is more (...) interesting than it has been taken to be. Allan sets out to show that the play merits more attention than it has received, and he succeeds, at least with this reviewer; a classicist reviewer who has written on the play is, however, hardly a test case. Moreover, the assertion of interest is not a strong claim, and, given the constraints of academic writing, scholarly arguments for a quirky play like the Andromache are often less compelling than the literary work itself. [End Page 126]Allan's thesis, that "every play represents a distinct thematic and dramatic complex which merits individual attention" (267), is undeniably true. He further asserts that the play is calculated to surprise and that the noticeable dissonances in it are purposeful as well. The book is divided into chapters on myth, structure, characterization, rhetoric, the spread of Attic tragedy, gender, the chorus, and the gods, in that order. Allan highlights Euripides' creative use of myth, drawing attention to the elevation of Andromache and the simultaneous way in which Euripides turns Neoptolemus, who was the center of epic treatments of the myth, into a corpse. There are connections between Allan's argument about the structure of the unexpected and Euripides' handling of myth. In part, Euripides builds the structure of surprise that Allan detects through his use of novel mythic variations.The elements of flexibility and surprise that Allan emphasizes also appear in a different guise in his considerations of gender (chap. 6) and the gods (chap. 8). According to Allan, female characters are useful for exposing the tensions that emerge when heroic society encounters crisis (162), while he uses Euripides' treatment of the gods to contribute to the overall argument about the multiplicity of Euripidean tragedy.Allan sounds a similar note in discussing characterization. Here he emphasizes dissonance, the contrast of traditional and invented story, and warns against expecting the depth of characterization typical of narrative from later centuries. This is a salutary reminder of the aesthetic conventions of tragedy too often overlooked by readers of the modern era.Characterization not only grows out of structure, as Allan argues, but is developed by rhetoric. His goal in the chapter on rhetoric is "to reappraise the functions and importance of Euripidean rhetoric (defined more broadly than the mere use of forensic topoi) by placing it within the larger dramatic context of the plays, and by viewing them within the wider rhetorical context of fifth-century Athenian culture" (119). Allan's contention is that Euripidean tragedy shows the failure of persuasion because of the intervention of political power. He argues that Euripides uses the Sophistic arsenal for his own dramatic ends, never for its own sake; as he notes, rhetoric is closely related to characterization through the characters' self-presentation. As he also shows, in the Andromache and other plays of Euripides, the rhetoric cannot be separated from the fictional world of the play. Ultimately, according to Allan, rhetoric reveals the feature of adaptability, sharing it with his other analytic categories of structure, myth and characterization.Allan asserts that there is a philosophical aspect to a plot based on surprise, but here I was disappointed and would have liked to hear more. The claim seems to boil down to the statement that the play is about the fragility of fortune (41), and this seems little more than a restatement of the commonplace moralizing tag line--that we can't know what will happen. What is the philosophical significance of the flexibility and surprise?The chapters on the chorus and the gods underline Allan's point about flexibility in Euripides. His chapter on the chorus, he says, "aspires to indicate [End Page 127] how choral contributions function much more provocatively than is often appreciated, not... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 80-83 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Lenia Serghi Ionian University, Corfu Manos Hadjidakis and his work are like his song, "O Mythos," for they take you from reality to fantasy and bring you back again. For my generation Hadjidakis was a myth with substance, since he was (...) a real person and his work represented our reality.The first time I heard of Hadjidakis was in relation to his song, "The Children of Pireas," that won him an Oscar for Best Song in 1960-61 as the main theme of his music for the film, Never on Sunday. The first record, a 45-single in the early 1960s, aroused a strong emotional response in the youth of the time.My next and most important experience with Hadjidakis' music was in London during the International Theatre Festival in the Spring of 1964. The Art Theatre of Greece under the Direction of the acclaimed Karolos Koun gave its first performances outside Greece. They presented Aristophanes' comedy, The Birds, and the Aeschylean tragedy, The Persaes. After forty years these performances are still topics of discussion in theater and musical circles. The performance of The Birds took the audience by surprise. The strong, vivid rhythm with the superb [End Page 80] melodies and the chorus filling the stage with its movements and dance gave a new perspective to the production of ancient comedy and drama. The audience was exuberant and the clapping went on without end. It was the unveiling of a new world of music for the theater, a music which could create strong emotions.Perhaps one of the most important works of Hadjidakis is the cycle of songs, The Megalos Eroticos-Magnus Eroticus, composed in 1972 for two voices, choir, and twelve instruments. The song cycle consists of eleven songs based on the lyrics of Greek poets from antiquity till the present time, like Sappho, Euripides, Solomos, Sepheris, Gatsos, Elytis, and Kavafis. Included in the collection is the famous poem, "S'agapo" [I love you], by Myrtiotissa, one of the important women poets of the twentieth century, which according to Hadjidakis was his inspiration for writing Magnus Eroticus. As he says: I think I succeeded [in creating] a beautiful piece of work, and deeply, it belongs to her as a whole. If Magnus Eroticus belongs to somebody it belongs to the memory of Myrtiotissa.1In Magnus Eroticus the combination of lyrics and music is at the highest level of sensibility and the musical style of each song is superb. Music follows the verse to express its deepest meaning while maintaining its uniqueness. In 1973, Pantelis Voulgaris made Magnus Eroticus into a film of the same title.Without doubt Hadjidakis was one of the troubadours of love; in fact he considered himself as a tragoudopoios. Etymologically tragoudopoios comes from the words tragoudi (song) and the verb poio (make, create), and is the root of the word poieses (poetry). A tragoudopoios could be a follower of the rhapsodoi of Homer's time, or the troubadours of medieval times who created songs.In my view, the comparison made by some critics of Hadjidakis' songs with those of Schubert and Brahms is not so successful, especially for the songs written in the 50s, 60s, and 70s, songs that were very popular and represented the reality of Greek life of that period. Similarities to these composers may exist in his later work of the 80s, when his style of art song had become more sophisticated.As a person and composer, Hadjidakis himself could be considered a Magnus Eroticus. I am not sure, though, that he could be considered an anarchist, as Miralis suggests. As Hadjidakis used to say, "[P]erhaps I would have been an anarchist if I didn't have my mother." I would say he was more a lover of democracy in its wider sense.One could say, perhaps, that Hadjidakis was an anarchist in spirit... (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.

This chapter contains sections titled: Belonging and genealogical bonds Beholdenness and reciprocal relations Respect, or the wish‐to‐be‐appreciated Knowledge, inherent value, and landkeeping.

Le désir d’une femme d’avoir un enfant la précipite dans un monde conflictuel. Quand elle n’a pas été en mesure de mener à son terme une séparation psychique avec la mère, son identification féminine demeure sous le joug maternel. Les sentiments inconscients de culpabilité, en raison de la volonté de mettre au monde un enfant, se concentrent en premier lieu sur la mère puis s’orientent vers le premier enfant et retentissent le cas échéant sur les relations fraternelles. (...) L’article s’attelle à la compréhension de la position particulière de la fille aînée qui deviendra une femme anxieuse, notamment concernant la gestion de ses relations au sein de la fratrie mais également avec ses parents. Élucider ces mécanismes constitue un moyen de démêler les nœuds émotionnels présents au sein de la fratrie. (shrink)

This article argues for the significance of Euripides’ Bacchae to what Socrates, in Book X of the Republic, refers to as the ‘ancient quarrel between philosophy and poetry’. I argue that the play’s presentation of Dionysus – the god of tragic theatre – amounts to a metapoetic treatment of tragic poetry; it is a tragedy about tragedy. The Bacchae can thus be read as a statement of tragic poetry’s self-understanding of its pedagogical and political goals as well as of its (...) possible limitations. I conclude by arguing that there is in fact a deep kinship between tragic poetry (as presented by Euripides) and Socratic political philosophy (as presented by Plato), especially with respect to their relation to, and understanding of, the polis. Ultimately, through analyzing the Bacchae’s presentation of Dionysus, I aim to allow tragic poetry to speak for itself as well as to clarify its relation to Platonic/Socratic political philosophy. (shrink)

À partir de leur expérience de psychologues dans le champ de la prévention de la radicalité, les auteurs formulent des hypothèses concernant les fonctions psychiques de la radicalisation pour des adolescentes en grande souffrance psychique ayant subi des traumatismes intra et intergénérationnels. Les auteurs évoquent tout particulièrement les cas de jeunes filles pour qui la radicalisation serait une tentative de résolution identitaire en lien avec des traumatismes touchant les liens mère/fille. Ces hypothèses théorico-cliniques et l’analyse des souffrances psychiques et (...) des troubles manifestés conduisent les auteurs à ouvrir sur des préconisations en matière d’aide à apporter. (shrink)

_BMC Medical Ethics_ is an open access journal publishing original peer-reviewed research articles in relation to the ethical aspects of biomedical research and clinical practice, including professional choices and conduct, medical technologies, healthcare systems and health policies. _BMC __Medical Ethics _is part of the _BMC_ series which publishes subject-specific journals focused on the needs of individual research communities across all areas of biology and medicine. We do not make editorial decisions on the basis of the interest of a study (...) or its likely impact. Studies must be scientifically valid; for research articles this includes a scientifically sound research question, the use of suitable methods and analysis, and following community-agreed standards relevant to the research field. Specific criteria for other article types can be found in the submission guidelines. _BMC series - open, inclusive and trusted_. (shrink)

Knowledge can be expressed in language using a plethora of grammatical means. Four major groups of meanings related to knowledge are Evidentiality: grammatical expression of information source; Egophoricity: grammatical expression of access to knowledge; Mirativity: grammatical expression of expectation of knowledge; and Epistemic modality: grammatical expression of attitude to knowledge. The four groups of categories interact. Some develop overtones of the others. Evidentials stand apart from other means in many ways, including their correlations with speech genres and social environment. This (...) essay presents a framework which connects the expression of knowledge across the world's languages in a coherent way, showing their dependencies and complexities, and pathways of historical development in various scenarios, including language obsolescence. (shrink)

Why We Argue : A Guide to Political Disagreement in an Age of Unreason presents an accessible and engaging introduction to the theory of argument, with special emphasis on the way argument works in public political debate. The authors develop a view according to which proper argument is necessary for one's individual cognitive health; this insight is then expanded to the collective health of one's society. Proper argumentation, then, is seen to play a central role in a well-functioning democracy. Written (...) in a lively style and filled with examples drawn from the real world of contemporary politics, and questions following each chapter to encourage discussion, Why We Argue reads like a guide for the participation in, and maintenance of, modern democracy. An excellent student resource for courses in critical thinking, political philosophy, and related fields, Why We Argue is an important contribution to reasoned debate. What's New in the Second Edition: Updated examples throughout the book, including examples from the 2016 U.S. election and first years of the Trump presidency; Expanded coverage of dialectical fallacies, including coverage of new types of fallacies and of sites where such fallacies thrive ; Revised For Further Thought questions and definitions of Key Terms, included at the end of each chapter; The addition of five new chapters: Deep Disagreement Argument by Analogy Argument between the Ads The Owl of Minerva Argumentative Responsibility and Repair. (shrink)

Australia is witnessing a political, social and cultural renaissance of public debate regarding violence against women, particularly in relation to domestic and family violence (DFV), sexual assault and sexual harassment. Women's voices calling for law reform are central to that renaissance, as they have been to feminist law reform dating back to nineteenth-century campaigns for property and suffrage rights. Although feminist research has explored women’s voices, speaking out and storytelling to highlight the exclusions and limitations of the legal and (...) criminal justice systems in responding to women’s experience, less attention has been paid to how women's voices are elicited, received and listened to, and the forms of response they have received. We argue that three recent public inquiries in Australia reveal an urgent need for a victim-survivor-centred theory of listening to women’s voices in law reform seeking to address violence against women. We offer a nascent theory of a victim-survivor-centred approach grounded in openness, receptivity, attentiveness and responsiveness, and argue that in each of our case studies, law reform actors failed to adequately listen to women by silencing and refusing to listen to them; by hearing them but failing to be open, receptive and attentive; and by selectively hearing and resisting transformation. We argue that these inquiries signal an acute need for attention to the dynamics of listening in law reform processes, and conclude that a victim-survivor-centred theory of listening is a critical foundation for meaningful change to address violence against women. (shrink)

Mathematics and aesthetics are closely intertwined. Not only mathematical concepts, relationships and theorems can be aesthetically pleasing, but we also often find harmony between their results and the patterns of the world around us, and we like that. Yet, apart from rare exceptions, the beauty of mathematics, particularly in education, is mostly unrecognized: this science rarely meets the favour of students. Vedic mathematics is an approach which encapsulates the enjoyment and power of this knowledge, not only in the sphere of (...) thought process, but also in its practical utility. It highlights and develops the aesthetic dimension of learning in a very immediate sense. The aim of this article is to introduce the method – what it is and how it works – to give comparative examples of techniques and their efficacy, and to emphasize the aesthetic value it conveys. (shrink)

Any evolved disposition for fairness and cooperation would not replace but merely compete with selfish and other antisocial impulses. Therefore, we propose that human cooperation and fairness depend on self-regulation. Evidence shows reductions in fairness and other prosocial tendencies when self-regulation fails.

This paper examines the question of whether human rights are related to ontology. It examines perspectives on this question from human rights theories in the Western and African traditions of philosophy and defends the thesis that a good account of human rights requires an explicit ontology of the human, and that taking this seriously engenders divergent conclusions about what rights are. It then proceeds to claim that the African Charter on Human and Peoples’ Rights adds substantive features to the International (...) Bill of Human Rights, and that the Charter expresses Kwame Gyekye’s ontology of the human being. (shrink)

Why is it that the modern conception of literature begins with one of the worst writers of the philosophical tradition? Such is the paradoxical question that lies at the heart of Jean-Luc Nancy's highly original and now-classic study of the role of language in the critical philosophy of Kant. While Kant did not turn his attention very often to the philosophy of language, Nancy demonstrates to what extent he was anything but oblivious to it. He shows, in fact, that the (...) question of _philosophical style_, of how to write critical philosophy, goes to the core of Kant's attempt to articulate the limits, once and for all, that would establish human reason in its autonomy and freedom. He also shows how this properly philosophical program, the very pinnacle of the Enlightenment, leads Kant to posit literature as its other by way of what is here called the _syncope_, and how this other of philosophy, entirely its product, cannot be said to exist outside of metaphysics in its accomplishment. This subtle, unprecedented reading of Kant demonstrates the continued importance of reflection on the relation between philosophy and literature, indeed, why any commitment to Enlightenment must consider and confront this partition anew. (shrink)

Diploid germ cells produce haploid gametes through meiosis, a unique type of cell division. Independent reassortment of parental chromosomes and their recombination leads to ample genetic variability among the gametes. Importantly, new mutations also occur during meiosis, at frequencies much higher than during the mitotic cell cycles. These meiotic mutations are associated with genetic recombination and depend on double‐strand breaks (DSBs) that initiate crossing over. Indeed, sequence variation among related strains is greater around recombination hotspots than elsewhere in the genome, (...) presumably resulting from recombination‐associated mutations. Significantly, enhanced mutagenicity in meiosis may lead to faster divergence during evolution, as germ‐line mutations are the ones that are transmitted to the progeny and thus have an evolutionary impact. The molecular basis for mutagenicity in meiosis may be related to the repair of meiotic DSBs by polymerases, or to the exposure of single‐strand DNA to mutagenic agents during its repair. (shrink)

Helicopter cabin noise was simulated by combining a broadband signal (pink noise, or PN) with a triad of pure tones (PT) at 650,1900, and 5000 Hz. Each component was presented at four loudness levels (0,60,70, and 80 dB[A]), with all 16 combinations arranged in two unsystematic orders. Intelligibility was measured by means of sentences to be judged as true or false. A male speaker presented 10 sentences at each noise condition. One group of subjects heard the sentences at 50 dB(A) (...) and another group at 55 dB(A). The annoyance of each noise combination was rated by the same subjects on a 5-point scale. Both sources and their interaction were significantly related to reduced intelligibility and increased annoyance at both speech levels. In general, the PN component was more responsible for loss of intelligibility, and the PT component more responsible for annoyance. (shrink)

The first volume of a projected three volume series, this book is at once a history of ancient philosophy and an attempt to explore and defend the thesis that "what is called Greek ontology was not only a strictly logical, but also a religious, concern." The following two volumes of the series will deal with medieval and modern philosophy from the perspective of the relation between speculation and revelation. Kroner argues that speculative philosophy and revealed religion, although exhibiting ineradicable (...) differences of approach, fundamentally deal with the same problem, viz., the "apprehension of the Ultimate"; and that the history of philosophy is best understood in terms of the relations between these approaches. The argument is rich in insight and is developed with real power; but at crucial points there is a lack of clarity which detracts somewhat from the force of the book.--A. C. P. (shrink)

Magnetic resonance imaging (MRI) is an imaging technique with a rapidly expanding application range. This methodology, which relies on quantum physics and substance magnetic properties, is now being routinely used in the clinics and medical research. With the advent of measuring functional brain activity with MRI (functional MRI), this methodology has reached a larger section of the neuroscience community (e.g. psychologists, neurobiologists). In the past, the use of MRI as a biomarker or as an assay to probe tissue pathophysiological condition (...) was limited. However, with the new applications of MRI: molecular imaging, contrast‐enhanced imaging and diffusion imaging, MRI is turning into a powerful tool for in vivo characterization of tissue pathophysiology. This review focuses on the diffusion MRI. Although it only measures the averaged Brownian translational motion of water molecules, using different analysis schemes, one can extract a wide range of quantitative indices that represent tissue morphology and compartmentalization. Statistical and visualization routines help to relate these indices to biologically relevant measures such as cell density, water content and size distribution. The aim of this review is to shed light on the potential of this methodology to be used in biological research. To that end, this review is intended for the non‐MRI specialists who wish to pursue biological research with this methodology. We will overview the current applications of diffusion MRI and its relation to cellular biology of brain tissue. BioEssays 30:1235–1245, 2008. © 2008 Wiley Periodicals, Inc. (shrink)

Plato's Philebus contains an intricate difficulty. Plato seems to hold both (a) that all pleasures are processes of becoming, a crucial premise in the argument that no pleasure is good (53c?55c) and (b) that some pleasures contribute in their own right to the goodness of the best life (64c?67b). Since it seems also plausible that only things which are good can contribute to the goodness of the best life in their own right, Plato's view seems to be inconsistent. Interpreters usually (...) reject either (a) or (b). As Plato seems firmly committed to both (a) and (b), I propose a third way of dealing with the inconsistency. The apparent inconsistency highlights a vital contrast between what is independently good (good per se), what is dependently good (good through participating in what is independently good), and what is derivatively good (good through standing in a certain relation to dependent goods). I argue that while pleasure's being a process of becoming marks it out as derivatively good, some kinds of pleasure are also dependent goods in virtue of their objects ? irrespective of their being processes of becoming. (shrink)

The aim of this work is to present aggregation methods of hierarchically organized systems allowing one to replace the initial micro-system by a macro-system described by a few global variables. We also study the relations between the fast micro-dynamics and the slow macro-dynamics which can produce global properties. Emergence corresponds to a bottom-up coupling that is the result effected by a micro-level at a macro-level. As an example, we present prey-predator models with different time scales in an heterogeneous environment. A (...) fast time scale is associated to the migration process on spatial patches and a slow time scale is associated to growth and interactions between the populations. Preys must go on spatial patches where resources are located and where predators can attack them. The efficiency of the predators to catch preys is patch dependent. Perturbation methods allow us to aggregate the initial system of differential equations for the patch sub-populations into a macro-system of two differential equations governing the total population densities. We study the case of density independent and density dependent migrations. In the latter case, we show that different functional responses can emerge in the macro prey-predator model as a result of the coupling between the slow and fast systems. (shrink)

It is the nature of the earth to lie ‘wholly spread out under the sky’: hapasê hê hupo tô kosmô keimenê (Isocrates); and the sky determines the World. Indeed it is the same as the World, as Plato states in the final words of Timaeus: ‘the World was born: it is the Sky, which is one and alone of its race’ (ho kosmos … gegonen heis ouranos hode monogenês ôn). What is thus clearly ‘one and alone of its race’ dominates (...) by its very nature what is subjected to it: the earth. With the coming of the age of modernity, and today more than ever, the West has indeed subjected the Earth and its peoples by imposing its World on them. But it is the nature of worlds, as it is of heavens, to be limited by a horizon; and there is no sky, nor world, that is not supported by an earth. By the Earth, we mean to say nature. This ancient certainty, this primary metaphor, has been inscribed in us since the first creatures to become human, standing with both feet on the ground and head turned towards the sky, first saw the horizon. As paleo-anthropology tells us, it is in effect in the same movement that they began to create technical and symbolic systems from which the ecumene would spring; and this prime metaphor that was the basis for the ecumene and its worlds has continued to work on the generation of secondary metaphors that govern the history of human thought through the unconscious - from Aristotle when, inventing the notion of subject, he called it hupokeimenon, ‘what lies below’ (as the earth lies below the sky), to Heidegger when he imagined The Origin of the Work of Art as a ‘dispute’ (Streit) between a world and the earth. Indeed there is Streit because the earth denies itself and withdraws into its interior, in the very exteriorization that opens it into a world. (shrink)

The paper presents an outline of two related space-time notions: the notion of location and the notion of extension. The first notion concerns only physical objects, the second notion referrs also to space-time objects. The approach to both notions is here non-metric of - strictly speaking - topological. The construction is carried out within the ontology of point-eventism. Hence two problems appear immediately: the problem of location of certain sets and the problem of their extension. The reason is that according (...) to the ontology of point-eventism all the physical as well as space-time objects - only point events excepted - are sets founded in such events. The author analyzes also the very relation between location and extension. (shrink)

Memorialization in the form of the architectural statue can suggest that our stance towards the past is concrete while memorials in the form of repeated social activity represent reconciliation with the past as a continual process. Enacted memorials suggest that reconciliation with the past is not itself a thing of the past. Each generation must grapple with its inherited memories, guilt, and grief and self-consciously take its own stance towards that which came before it. This article considers Dominik Smole’s post (...) World War II rewrite of Antigona as an enacted memorial within the context of socialist Yugoslavia. The practice of restaging Antigona in Slovenia may be seen as the practice of meta-memorialization, which routinely returns to the past while openly weighing the dangers of awakening the unburied dead against the dangers of letting the unaddressed conflicts of the past sleep. (shrink)

Perceptual experience is often said to be transparent; that is, when we have a perceptual experience we seem to be aware of properties of the objects around us, and never seem to be aware of properties of the experience itself. This is a introspective fact. It is also often said that we can infer a metaphysical fact from this introspective fact, e.g. a fact about the nature of perceptual experience. A transparency theory fills in the details for these two facts, (...) and bridges the gap between them. We have three aims: to scrutinize Michael Tye’s transparency theory :137–151, 2002; Consciousness revisited: materialism without phenomenal concepts, MIT Press, Cambridge, 2009; Philos Stud 170:39–57, 2014a), introduce a new transparency theory, and advance a meta-theoretical hypothesis about the interest, and import, of transparency theories. (shrink)

This monograph presents Azzouni’s new approach to the rule-following paradox. His solution leaves intact an isolated individual’s capacity to follow rules, and it simultaneously avoids replacing the truth conditions for meaning-talk with mere assertability conditions for that talk. Kripke’s influential version of Wittgenstein’s rule-following paradox—and Wittgenstein’s views more generally—on the contrary, make rule-following practices and assertions about those practices subject to community norms without which they lose their cogency. Azzouni summarizes and develops Kripke’s original version of Wittgenstein’s rule-following paradox to (...) make salient the linchpin assumptions of the paradox. By doing so, Azzouni reveals how compelling Kripke’s earlier work on the paradox was. Objections raised over the years by Fodor, Forbes Ginsborg, Goldfarb, Tait, Wright, and many others, are all shown to fail. No straight solution can be made to work. Azzouni illustrates this in detail by showing that a popular family of straight solutions due to Lewis and refined by Williams, “reference magnetism,” fail as well. And yet an overlooked sceptical solution is still available in logical space. Azzouni describes a series of “disposition-meaning” private languages that he shows can be successfully used by a population of speakers to communicate with one another despite their ideolectical character. The same sorts of languages enable solitary “Robinson Crusoes” to survive and flourish in their island habitats. These languages—sufficiently refined—have the same properties normal human languages have; and this is the key to solving the rule-following paradox without sacrificing the individual’s authority over her self-imposed rules or her ability to follow those rules. Azzouni concludes this unusual monograph by uncovering a striking resemblance between the rule-following paradox and Hume’s problem of induction: he shows the rule-following paradox to be a corollary of Hume’s problem that arises when the problem of induction is applied to an individual’s own abilities to follow rules. (shrink)

In this paper we first give a survey of reductive cut-elimination methods in classical logic. In particular we describe the methods of Gentzen and Schütte-Tait from the abstract point of view of proof reduction. We also present the method CERES which we classify as a semi-semantic method. In a further section we describe the so-called semantic methods. In the second part of the paper we carry the proof analysis further by generalizing the CERES method to CERESD . In the generalized (...) version CERESD we admit general elimination rules which are based on the mere semantical truth of sentences. We construct complete cut-free LK-derivations originating from derivations potentially containing unproven lemmas. Finally we give a comparison of reductive methods and CERESD by presenting a general simulation result. (shrink)

Associative Democracy has been developed as a specific response to statist socialism and neoliberal capitalism, drawing on older traditions such as associationalism, democratic socialism, and cooperative socialism. As the ‘real third way’, it is distinct from neoliberal privatization and deregulation in the Blair–Schröder varieties of social democracy and in the conservative Reagan–Thatcher–Cameron varieties. This article summarizes what seemed to make AD an attractive realist utopia: its combination of economic, societal and political democracy; its focus on democratic institutional pluralism in all (...) these regards; its considered moral/political minimalism; and its practical experimentalism. It recapitalizes some of the important economic, societal and political changes during the last decennia that seem to make AD plainly utopian again. It focuses on an outline of basic principles and institutions of socio-economic alternatives to capitalism because, if neoliberalism rules supreme, no viable alternatives can emerge and grow. Even if there is not one institutional design that fits all countries and contexts, we can show what the basic tenets of such alternatives are and how such a colourful democratic socialism relates to and can integrate other approaches such as ‘circular economy’, ‘foundational economy’ and ‘radical social innovation’. The hope is that AD’s broad institutional pluralism and its emphasis on practical experimentalism show new ways of thinking which are urgently needed for sustainable and socially fair economic development and for renewing representative democracy. (shrink)

War; effects on; world politics; foreign relations; military sciences; study and teaching; 21st century.

AbstarctBoth the superhero and the supervillain operate outside the law. The former replaces law with a form of substantive justice while the latter seeks to invert or overturn the law in favour of a new grundnorm that best serves their vision for how society should operate. In this paper I consider what this prefix “super” really means in relation to these two classes, drawing on Nietzsche’s original definition of the ubermensch and its relationship to legal concepts such as the (...) state of exception, sovereign power and substantive justice. These relationships will be mapped across a number of examples from the Marvel Studios films—paying particular attention to the antagonists in these movies, both the state and the supervillains, arguing that it is these antagonists who are most illustrative of these concepts in play. (shrink)

_Parallax_ is an international, peer-reviewed journal that aims towards a critical engagement with the production of culture and knowledge. The journal explores a wide range of cultural practices, reconfiguring the production and understanding of culture as well as the relation between theory and practice itself. This text brings together scholars from a number of different theoretical backgrounds to consider the ethical and political processes involved in witnessing, and the possible limits of theory in some situations. Contributors include J.M. Bernstein, (...) Kelly Oliver, Griselda Pollock, Laurence Rickels, Avital Ronell and Hayden White. (shrink)

My two major theses are that (i) prescriptivism obscures certain parallels between practical and theoretical reasoning, Lends plausibility to the false view that practical reasoning is not empirically based, And misunderstands ordinary usage; (ii) the main difference between claims of theoretical and practical reasoning lies in the logical relation between the conclusions of such claims and what they license: beliefs and intuitions, Respectively.

Rules and similarity refer to qualitatively different processes. The classification of a stimulus by rules involves abstract and usually domain-specific knowledge operating primarily on the target representation. In contrast, similarity is a relation between the target representation and another representation of the same type. It is also useful to distinguish associationist processes as a third type of cognitive process.

Excerpt from Studies in Human Nature The aim of these studies is to examine with all possible freedom from theoretical bias some phases of human nature which are of great interest in themselves, and in the light of the analysis to draw certain conclusions. It would have been natural to have included in such a series the consideration of certain other aspects of human nature, more especially those which concern morality and civic institutions. Morality and the conditions of citizenship arc (...) in many ways the most important forms of human life which can engage our attention at the present time; and the influence of the recent upheaval in our experience has brought before us many moral problems with a peculiar, and perhaps even a new', prominence. It has seemed better, however, to reserve the consideration of these and kindred subjects for another occasion. It is not the purpose of these papers to defend or support any of the familiarly accepted theories, whether of idealism or realism. Human nature is far more interesting and much more important than any theory, and on that account perhaps is tolerant of many theories. It may be remarked, however, that the momentum which carried forward one peculiar form of idealism - the confident and confiding idealism of a generation ago - seems now to have spent its force; and that a realism which takes the form of a new materialism can hardly claim to be in a position to show a better way. 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 this issue of the Hastings Center Report, Mélanie Terrasse, Moti Gorin, and Dominic Sisti, urge ethicists to devote scholarly attention to a wave of troubling artificial intelligence applications affecting health consumers’ rights and the quality of their care. I very much agree. We already have neuroethicists, business ethicists, and genetics ethicists; AI‐related systems in health care present more than enough warrant to herald the appearance of a new ethics specialist—the “intel‐ethicist,” let’s say. Nonetheless, Terrasse and colleagues may have exaggerated (...) some of the potential moral problems of AI. Examining only social media and e‐health programs, the authors produce an impressive array of questions to consider, but I will argue that two of them are not nearly as worrisome as might be supposed. (shrink)

Baofu offers a new theory to transcend the existing approaches in the literature on cosmology in a way not conceived before, especially in relation to its contested beginnings and speculative ends.

In lieu of an abstract, here is a brief excerpt of the content:Sophie, Greta, Cuiyuan, and Feminist DesireStories by Ding Ling, Alice Munro, and Eileen ChangYuhui Bao (bio) and Ian Dennis (bio)Desire has a history and, for a literary criticism inflected by mimetic theory, novelistic prose fiction offers a privileged view of its unfolding. We study novelistic fiction, as opposed to various romance genres, to grasp that history, for what its authors have been able to see, understand, and dramatize—this is (...) the procedural model, indeed the authority established by René Girard and that has largely governed such criticism thereafter.1 But of the three short fictions we consider here—two Chinese and one Canadian—only two are fully novelistic in character, in that they attempt to describe and diagnose—rather than merely express—emergent and changing desires. Students of Girard, of course, recognize here the distinction between the romanesque and romantique. to which one might add the understandings of genre developed by a number of other theorists.2However, we might also concede that all fictions are invariably and to some degree romantic—some desire, necessarily mediated, is always operative, in writers and readers alike, before or even as it is demystified, if indeed it is. Furthermore, a passionate fictional commitment to that which Girard boldly [End Page 131] designated the mensonge romantique may actually reveal or clarify, at least for later readers, that which the author seeks half- or unconsciously to conceal. It is with this possibility in mind that we propose to consider our other subject fiction, "Miss Sophie's Diary" (莎菲女士的日记 sha fei nv shi de ri ji; 1927) by the pioneering Chinese woman writer Ding Ling (丁玲 ding ling).3 "Miss Sophie's Diary," to be clear, is no simple romance; it is at least hybrid, and in its brave if perhaps only partially successful pursuit of the truth of desire, subtly revelatory. Miss Sophie (莎菲 sha fei), chronically ill with tuberculosis and half-separated from a human world she both longs for and despises, with her aggrieved sense of superiority and desperate, shameful longing for those she passionately feels to be her inferiors, with her loquacious rationalizing and constant, perverse reversals of attitude, is a kind of Dostoyevskian "underground woman," afflicted as well with a touch of the "nausea" later made prestigious by J.-P. Sartre.4 She is clearly a harbinger of her own culture's precipitation into the world of internally mediated, indeed, metaphysical desire, what we might also call the market world, the modernity Girard credits the great European novelists from Stendhal onward with diagnosing. This story has long been described as an unprecedented and "frank" revelation "of a Chinese woman's sexual feelings and contempt for conventional views," expressing an "outspoken and unrelenting individualism."5 At the same time, it has been seen as a product of the fatally compromised and ultimately unsuccessful May Fourth literary movement,6 and not necessarily representative of its author's overall fictional production. From an orthodox Girardian critical perspective, however, the crucial interpretative question might be the degree to which Ding Ling is aware of the sources of the newly enfranchised desires her heroine wrestles with, or, as we might also put it, the degree of separation between the author's understanding and that of Miss Sophie. But such a question is perhaps easily enough answered. Ding Ling clearly does not share Girard's "novelistic" perspective on the operation of desire. But from our current perspective, does her best-known work nonetheless offer, however imperfectly, certain now-recognizable insights into historical processes of desire that our other two writers more fully realize?"Miss Sophie's Diary" is famous in China for the delicacy, depth, and explicitness with which those bold and passionate sexual desires of Sophie are exposed, even as such desires are (perhaps reassuringly) defeated, or at least revealed as illusory. Clearly the story reflects a period of cultural and personal crisis. "I was extremely confused at that time," she wrote in a later phase of self-critique. "On one hand, I was radically rebellious, believing blindly in social revolution; on the other hand, I indulged myself in a petty bourgeoisie sense, departing from revolution, so I was trapped in loneliness, struggle and misery [End... (shrink)

In this article, we will present a number of technical results concerning Classical Logic, ST and related systems. Our main contribution consists in offering a novel identity criterion for logics in general and, therefore, for Classical Logic. In particular, we will firstly generalize the ST phenomenon, thereby obtaining a recursively defined hierarchy of strict-tolerant systems. Secondly, we will prove that the logics in this hierarchy are progressively more classical, although not entirely classical. We will claim that a logic is to (...) be identified with an infinite sequence of consequence relations holding between increasingly complex relata: formulae, inferences, metainferences, and so on. As a result, the present proposal allows not only to differentiate Classical Logic from ST, but also from other systems sharing with it their valid metainferences. Finally, we show how these results have interesting consequences for some topics in the philosophical logic literature, among them for the debate around Logical Pluralism. The reason being that the discussion concerning this topic is usually carried out employing a rivalry criterion for logics that will need to be modified in light of the present investigation, according to which two logics can be non-identical even if they share the same valid inferences. (shrink)

RÉSUMÉDans ses écrits de Jena, Fichte tente de résoudre l’apparent conflit entre la nécessité de faire reposer la philosophie sur des principes scientifiques et celle de respecter sa nature de vocation autonome. Ce faisant, il a prétendu accomplir d’autres tâches, sur les plans métaphilosophique, pédagogique et polémique : justifier les questions qui l’occupaient, communiquer sa pensée correctement et répondre aux incompréhensions de ses adversaires. Cet article montre qu’à travers ces considérations, Fichte s’essaie aussi au problème plus vaste qui consiste à (...) préciser la relation entre la «lettre» de la philosophie comme doctrine et son «esprit» intersubjectif. (shrink)

Lambek elegantly characterized part of natural language. As is well-known, his substructural logic L, and its non-associative version NL, handle basic function/argument composition well, but not scope taking and syntactic displacement—at least, not in their full generality. In previous work, I propose $$\text {NL}_\lambda$$, which is NL supplemented with a single structural inference rule (“abstraction”). Abstraction closely resembles the traditional linguistic rule of quantifier raising, and characterizes both semantic scope taking and syntactic displacement. Due to the unconventional form of (...) the abstraction inference, there has been some doubt that $$\text {NL}_\lambda$$ should count at a legitimate substructural logic. This paper argues that $$\text {NL}_\lambda$$ is perfectly well-behaved. In particular, it enjoys cut elimination and an interpolation result. In addition, perhaps surprisingly, it is decidable. Finally, I prove that it is sound and complete with respect to the usual class of relational frames. (shrink)