In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 123.3 (2002) 513-516 [Access article in PDF] Deborah Tarn Steiner. Images in Mind: Statues in Archaic and Classical Greek Literature and Thought. Princeton: Princeton University Press, 2001. xviii + 360 pp. 28 black-and-white figures. Cloth, $39.50. The production of sculpture in metal, stone, and other materials was a craft that virtually disappeared from the Greek world for several centuries after the end (...) of the Bronze Age. Small, solid cast bronze figurines reappeared in the ninth century B.C.E., but it was not until the middle seventh century that the first large-scale stone statues of women and men were created. From that point on, freestanding and architectural sculpture played a central role in Greek society and its artistic expression. While the stylistic evolution of Greek sculpture has been traced many times, in this provocative and ambitious book, Deborah Steiner sets out to examine, from a literary standpoint, "how archaic and classical Greek poets, philosophers, dramatists, and historians introduce statues as cognitive and hermeneutic devices in their texts" (xi). The investigation leads her to analyze what the statues "looked like, how they functioned," and "what they were credited with doing." The resulting book "aims to tell two stories, one about objects, the other about texts, and to show how each proves crucial to the other." The examination is somewhat lopsided, since the intellectual use of the visual material is given far greater emphasis than the statues themselves.The book is divided into five lengthy chapters and an epilogue. The first chapter, "Replacement and Replication," focuses on the physical resemblance of statues to people but not their inner natures. Chapter 2, "Inside and Out," examines, instead, the ways that a statue's exterior can relate more or less exactly to its inner truth. Chapter 3, "The Quick and the Dead," suggests that statues, by their very inertia, closely resemble the dead and therefore mediate in our imagination between the two states. Statues as erotic (or anti-erotic) art objects form the subject of chapter 4, "For Love of a Statue." The fifth and final chapter, "The Image in the Text," returns to the literary relation of sculpture to the production of memory: the similarity between victory odes and victors' statues, funerary epigrams and monuments, and the creation and regulation (on both the social and political levels) of honorary statuary and decrees. The retrospective epilogue is followed by twenty-eight black-and-white illustrations: Most of them depict well-known pieces of sculpture, but there are also several photographs of vase paintings and one of a drachma.In all the chapters, Steiner continually draws attention to the multivalent aspects of statues. The Greeks developed and applied a large and nuanced vocabulary to describe different types of image that embody differences only [End Page 513] poorly translated by our term, "statue": agalma, eidolon, eikon, kolossos, xoanon, and sema. Most of these have provoked extended discussion among modern scholars. The functions that statues played are even more diverse: they could serve as replacements for the absent or deceased individual, as votive offerings, as cult images, as commemorative monuments, as apotropaic devices, as protective symbols, as minatory agents, and occasionally as deadly entities (some statues could madden their viewer and even kill those who abused them or their creators by toppling over). They were also focusing devices that could evoke a wide range of emotional responses, from pity to lust. As exempla they served to instruct, and some could speak with their own voices, sometimes comically (e.g., the herms in Attic comedy) or poignantly through the words inscribed on their bases (e.g., the famous lines of Phrasikleia, the dead maiden who will never be a bride). The repeated use of the first person by funerary figures is particularly evocative. The inscriptions on other figures (like the very early Mantiklos Apollo statuette) make it clear that images could serve as bargaining chips with the gods for past services rendered or debts owed for the future.Other statues defy simple categorization—the Athena Parthenos, for example... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 125.1 (2004) 135-140 [Access article in PDF] Barry B. Powell. Writing and the Origins of Greek Literature. Cambridge: Cambridge University Press, 2002. xvi + 210 pp. 57 black-and-white figs. Cloth, $55. Harvey Yunis, ed. Written Texts and the Rise of Literate Culture in Ancient Greece. Cambridge: Cambridge University Press, 2003. x + 262 pp. Cloth, $55. These two works, published within a year of each (...) other, exist in an uneasy but complementary relationship. Each illustrates the merits and drawbacks of the other's approach, and neither enters into dialogue with the central premises of its opposite number. But, together, they do illustrate the point (or impasse) at which a central question in classical scholarship now stands. Almost a half decade since the ground-breaking studies by Goody and Watt, Havelock, and others, scholars still puzzle over the precise impact that the spread of the alphabet had on Greek society and mentality, and they document Greece's gradual transformation from an oral or song culture to a text-based one. While Barry Powell focuses on the early history of this transformation, and the essays in Harvey Yunis' study cast a broader temporal and thematic net, many of the same preoccupations mark both inquiries. What are the chief areas of difference between oral and literate modes of reception and transmission? How and why do texts come into being? How are they deployed?Powell's work is very much a continuation and refinement of his controversial publication of the early 1990s, Homer and the Origin of the Greek Alphabet(Cambridge, 1991). There, he argued that the Greek alphabet, unique for its capacity to record the sounds of speech, was invented by a single individual, at a single time and place, and for the express purpose of preserving the Iliadand Odyssey. There, too, he emphasized that writing, whatever the notational form it assumed, imperfectly mirrors speech and that the two systems of communication are fundamentally different. His position remains largely unchanged, although now the focus shifts. In this new work, he sets theories concerning the origins of the Homeric songs within the context of the particular nature of alphabetic writing, mounting a critique against those who neglect the "special role that alphabetic writing... played in the preservation, creation, and dissemination of archaic and classical Greek poetry" (188). It is an enterprise that takes him on a circuitous path. In a seemingly rather random concatenation of chapters ("Text," "Orality and Genre," "Myth," to name a few) Powell spends a substantial portion of the work showing how the existing terms used to debate the Homeric question [End Page 135] are riddled with vagaries and contradictions. But while he excellently illustrates how loose is the deployment of these expressions and concepts in existing scholarship, he fails to supply new and more exact terms. The reader is left with a rather dispirited sense that we cannot even talk about such things as "Tradition" or "Literacy" (persuasively shown to be no monolithic concept) without falling into a morass of confusion. A similar spirit of destruction, rather than reconstruction, marks his treatment of M. L. West's The East Face of Helicon(Oxford, 1997). If, for all the evidence that West (and Powell himself) amasses for the deep penetration of Eastern myth and literary forms on the Greek tradition, West's study neglects the special nature of alphabetic writing, then how exactly did the novel system change the material borrowed by the Greeks?More satisfying are later chapters where Powell grounds some of the observations made in these early, often brief and schematic discussions, in actual case studies, demonstrating his admirable knowledge of, and facility in, the decipherment of the writing systems of the Near and Far East. Particularly rich is the contrast that emerges between the multilingual Near East, with the possibility of cultural transmission through texts that multilingualism allows, and the monolingual culture of Greece. Fascinating, too, are the close readings of Egyptian and Chinese texts as part of an illustration of the... (shrink)

This article offers a fresh reading of Pindar’s Pythian 12, an ode composed for a victorious aulete, which demonstrates its engagement in current musicological debates concerning innovations in instrumentation, relations between the musical and vocal elements in choreia, and the status of the pipes. In ways that intersect with these issues, Pindar anticipates a motif that resurfaces in later Attic drama and other texts concerning the origins of choral lyric and that identifies women’s lament as the prototypical form of song.

This article treats the figure of the fox that appears as one of the members of the embassy sent by the animal s to Zeus in Callimachus' second ¡ambo By exploring previous appearances of the fox in the poetic repertoire, I identify a series of Archaic and early Classical works that Callimachus uses by way of 'intertexts', and argue that the Hellenistic author draws on the animal's place within the interconnected iambic and fable traditions that inform his poem. Already visible (...) in these earlier texts, and anticipating Callimachus, is a concern with literary as well as ethical polemics. (shrink)

This article treats the verbal and physical altercation between the disguised Odysseus and the local beggar Iros at the start of Odyssey 18 and explores the overlapping ritual and generic aspects of the encounter so as to account for many of its otherwise puzzling features. Beginning with the detailed characterization of Iros at the book's start, I demonstrate how the poet assigns to the parasite properties and modes of behavior that have close analogues in later descriptions of pharmakoi and of (...) famine demons expelled from communities in rites that are documented from different parts of the Greek world from the archaic period on; so too the account of Iros' ejection from the house and of his subsequent fate conforms to the patterns observable in these rituals. The second part of the discussion examines the ways in which the beggars' quarrel anticipates the enmities that the Ionian iambographers would construct with those whom they cast as their echthroi and rivals, and suggests that we see in the Homeric scene an early instance of an iambic-style confrontation presented in poetic form for performance at the symposium. The iambographers' own deployment of the scapegoat and famine demon paradigms for the vilification of their targets promotes the overlap between the epic and iambic material. In both portions of the argument, the discussion observes how the several frames informing the episode in Book 18 coincide with and promote the Odyssey's larger themes. (shrink)

This article treats representations of victors in the Greek athletic games in the artistic and poetic media of the early classical age, and argues that fifth-century sculptors, painters and poets similarly constructed the athlete as an object designed to arouse desire in audiences for their works. After reviewing the very scanty archaeological evidence for the original victory images, I seek to recover something of the response elicited by these monuments by looking to visualizations of athletes in contemporary vase-painting and literary (...) sources, and most particularly in the epinician odes of Pindar. Poets and painters, I suggest, both place their subjects within an erotically-charged atmosphere which replicates that surrounding actual athletes in the city gymnasia and at the games, and encourage audiences to regard the youthful bodies on display as "spectacularized" objects, sources of both aesthetic and sensual pleasure. The makers of monumental images work within the same paradigm, also prompting the viewer to transfer the sentiments aroused by the real-world athlete and victor to his re-presentation in bronze. Through an examination of the conventions used for victor images, and a close study of the so-called Motya charioteer, I propose that the sculptor deploys techniques analogous to those of artist and poet to highlight the appeal of the athlete's body, and displays the victor in a mode calculated not only to mark him as the alluring target of the gaze, but even to cast him as a potential erômenos. The concluding section of the article investigates the impetus behind this mode of representation, and seeks to place the dynamic between the viewer and the viewed within the context of the early fifth-century polis. (shrink)

Discussion of the closing lines of Pindar¿s seventh Nemean has concentrated almost exclusively on the lines¿ relevance to the larger question that hangs over the poem: does the ode serve as an apologia for the poet¿s uncomplimentary treatment of Neoptolemus in an earlier Paean, and is Pindar here most plainly gainsaying the vilification in which he supposedly previously engaged. The reading that I offer suggests that a very different concern frames the conclusion to the work. Rather than seeking to exculpate (...) himself, the poet announces instead that in the song that the audience has just heard, the composer has adhered to two prime virtues that the encomiastic genre should embrace: variatio and an ability to counter the language of blame. By reorienting the debate in this way, I aim to elucidate the striking metaphors and other rhetorical devices that fill the final lines, and most particularly to make sense of the canine imagery that seems so recurrent a motif. As my reading seeks to show, the dog is chosen as master trope both for his relation to the practice of invective and for his relevance to that stale act of repetition that the poet here rejects. By giving his audience a sample of the mode of speech that the calumnist practises, and that the praise poet may appropriate when combating the opposite genre, Pindar makes the merits of his own poetry shine the brighter, and invites the cognoscenti to appreciate his sophia. More broadly, the encomiastic singer¿s brief deployment of the weapons of the abuse poet allows us to understand something of the overlapping and symbiotic relations between the different genres in archaic Greek poetry. (shrink)

Unresolved questions surround Simonides fr. 531, which eulogizes the Greeks who fell at Thermopylae. To what genre do these lines belong, what were the original conditions of their performance, and does Diodorus Siculus, who preserves the fragment, transmit just an extract or the complete piece? Commentators even differ as to where Simonides’ lines began: for some the words τŵυ ༐υ Θερμοπλαιζ θαυóυτωυ form part of the original composition, for others they conclude Diodorus' prose introduction. In my reading of the fragment, (...) I aim to address some of these puzzles by focusing chiefly on issues that allow for greater certainty: the structure and sentiments of the lines, and the cohesion between the song's contents and the conventions found in near contemporary commemorations of men fallen in battle on their country or polis’ behalf. As the comparative material will suggest, Diodorus’ designation of the lines as an encomion, something ‘properly’ delivered in praise of living men, should perhaps not be dismissed out of hand. Simonides‘ words may have been embedded within a composition as much designed for the purpose of praising, exhorting and inspiring the living as for memorializing the dead. (shrink)

This paper treats a topos found in Greek poetry from the archaic to the Hellenistic period, involving a confrontation between antagonistic and contrasting species of birds. Tracing the continuities and distinctions among the uses of the conceit in Hesiod, Pindar, and Callimachus, I argue that on each occasion it serves poets as a means of articulating their literary personae and the ethical, stylistic, and generic choices shaping their compositions. Not just a means of poetic polemic, self-definition, and self-positioning, the avian (...) terms used within the conceit also come to figure in the literary critical vocabulary of the late fifth century and its redeployment in Hellenistic times. (shrink)

This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects not (...) only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe. (shrink)

Deborah J. Brown - Descartes as a Moral Thinker: Christianity, Technology, Nihilism - Journal of the History of Philosophy 46:1 Journal of the History of Philosophy 46.1 173-175 Muse Search Journals This Journal Contents Reviewed by Deborah Brown University of Queensland Gary Steiner. Descartes as a Moral Thinker: Christianity, Technology, Nihilism. JHP Book Series. Amherst, NY: Humanity Books, 2004. Pp. 352. Cloth, $60.00. This work takes as its starting point the need to ground Descartes's moral philosophy in (...) something more fundamental than human reason. Finding inspiration in Heidegger's lament, "In what soil do the roots of tree of philosophy find their support?" , Steiner proceeds to ground the "concrete content and absolute authority" of Descartes's moral principles in his Christian faith . This is a book with a mission: to keep the secularizing readers of Descartes's philosophy from the Church door. It stands as an important reminder that in understanding Descartes we cannot ignore his theology and achieves this goal in a lucid and erudite fashion. But the central tenet of the book—that Descartes subordinated much of his thinking about morals to the authority of religion—is, in my view, fundamentally mistaken. Steiner's Descartes is the pivotal transitional figure between the orthodox Christianity of the late scholastic period and the secular modernism of.. (shrink)

The fact that much of our knowledge is gained through the testimony of others challenges a certain form of epistemic individualism. We are clearly not autonomous knowers. But the discussion surrounding testimony has maintained a commitment to what I have elsewhere called epistemic agent individualism. Both the reductionist and the anti-reductionist have focused their attention on the testimony of individuals. But groups, too, are sources of testimony - or so I shall argue. If groups can be testifiers, a natural question (...) to ask is whether our beliefs based on the testimony of groups are ever justified and whether such a justification is to be conferred inferentially or non-inferentially. I consider and dismiss the possibility of extending an anti-reductionist account of justification to our group testimonial beliefs. I also argue against a version of reductionism that would have our group testimonial beliefs justified only in so far as we were able to monitor the trustworthiness of members of the group. However, there are forms of reductionism that can be extended to make sense of the justification of our group testimonial beliefs. There are mechanisms for monitoring the trustworthiness and competency of a group (rather than its members) and, further, a variety of background beliefs allow us to assess the testimony of a group for reliability. (shrink)

I offer a very qualified argument to the effect that rights are grounded in a certain sort of prejudice that privileges individualistic and perhaps masculinist ways of thinking about moral life. I also propose that we look carefully at other conceptions of social ontology and moral life, including the much discussed care conception.

Interpersonal coordination is a key factor in team performance. In interactive team sports, the limited predictability of a constantly changing context makes coordination challenging. Approaches that highlight the support provided by environmental information and theories of shared mental models provide potential explanations of how interpersonal coordination can nonetheless be established. In this article, we first outline the main assumptions of these approaches and consider criticisms that have been raised with regard to each. The aim of this article is to define (...) a theoretical perspective that integrates the coordination mechanisms of the two approaches. In doing so, we borrow from a theoretical outline of group action. According to this outline, group action based on a priori shared mental models is an example of how interpersonal coordination is established from the top down. Interpersonal coordination in reaction to the perception of affordances represents the bottom-up component of group action. Both components are inextricably involved in the coordination of interactive sports teams. We further elaborate on the theoretical outline to integrate a third, constructivist approach. Integrating this third approach helps to explain interpersonal coordination in game situations for which no shared mental models are established and game situations that remain ambiguous in terms of perceived affordances. The article describes how hierarchical, sequential and complex dimensions of action organization are important aspects of this constructivist perspective and how mental models may be involved. A basketball example is used to illustrate how top-down, bottom-up and constructivist processes may be simultaneously involved in enabling interpersonal coordination. Finally, we present the implications for research and practice. (shrink)

The purpose of the paper is twofold. It first aims at clarifying and developing an important tension within enactivism concerning the relations between intentionality and content, once representationalism has been abandoned. In which sense(s) do enactivists (still) say that intentionality is contentful and not contentful? Secondly, it puts this tension in perspective with two paradigmatic ways of defining the relations between intentional states and their objects: Husserl’s theory of intentionality in the Logical Investigations, and Charles Sanders Peirce’s triadic semiotics.

Dr Hillel Steiner in this reply to Elizabeth Telfer takes each of her arguments for different arrangements of a health service and examines them--'four positions which can be located on a linear ideological spectrum'--and adds a fifth which could have the effect of 'turning the alleged linear spectrum into a circle'. Underlying both Elizabeth Telfer's article and Dr Steiner's reply, the base is inescapably a 'political' one, but cannot be abandoned in favour of purely philosophical concepts. Whatever the (...) attitude of mind of the reader of these two papers to the provision of a health service, the stimulus to more careful assessments of our own National Health Service and its problems can only be good. (shrink)

Ce texte se propose de revenir sur la manière dont les Principles of Psychology ont été compris et discutés par Husserl et par Wittgenstein. Pour ce faire, on se focalisera ici sur le sens et l’importance stratégique de la dénonciation effectuée par James de l’ erreur du psychologue dans le chapitre VII de l’ouvrage, antérieur au chapitre « The Stream of Thought » qui a retenu toute l’attention de Husserl et de Wittgenstein. Il est suggéré qu’une des sources permettant de (...) déterminer ce qui est en jeu dans les usages divergents des Principles par Husserl et Wittgenstein se situe crucialement dans la manière dont cette dénonciation de l’erreur du psychologue peut être comprise à partir des perspectives respectives des deux auteurs. Un rappel des tensions principales entre, d’une part, le travail de James dans les Principles et, d’autre part, les critiques husserliennes et wittgensteiniennes de la psychologie, permet de comprendre l’importance, la radicalité, mais aussi les insuffisances de cette dénonciation jamesienne de l’erreur du psychologue. (shrink)

Criticisms and rejections of representationalism are increasingly popular in 4E cognitive science, and especially in radical enactivism. But by overfocusing our attention on the debate between radical enactivism and classical representationalism, we might miss the woods for the trees, in at least two respects: first, by neglecting the relevance of other theoretical alternatives about representationalism in cognitive science; and second by not seeing how much REC and classical representationalism are in agreement concerning basic and problematic issues dealing with mental content (...) and intentionality. In order to expand and exemplify these ideas, this paper presents two heterodox positions on intentionality and on the relations between content and representation. Special attention is paid to the way REC is rejecting these positions: I argue that this rejection reveals common assumptions with classical representationalism, but also undermines the coherence of REC’s conception of intentionality. (shrink)

ABSTRACTRecent discussions in the field of moral cognition suggest that the relationship between emotion and judgment-formation can be described in three separate ways: firstly, it narrows our atte...

The traditional Lockean account of a state's territorial rights construes them as arising from, and coextensive with, the property rights of whichever set of landowners mutually contract to form that state. The coherence of this individualistic account has recently been challenged by Cara Nine. I argue that the reasons offered in support of that incoherence charge are unpersuasive.

:This paper argues that, inasmuch as exploitation is a form of injustice, exploitative acts need not be performed intentionally.

“We have no more beginnings,” George Steiner begins in this, his most radical book to date. A far-reaching exploration of the idea of creation in Western thought, literature, religion, and history, this volume can fairly be called a magnum opus. He reflects on the different ways we have of talking about beginnings, on the “core-tiredness” that pervades our end-of-the-millennium spirit, and on the changing grammar of our discussions about the end of Western art and culture. With his well-known elegance (...) of style and intellectual range, Steiner probes deeply into the driving forces of the human spirit and our perception of Western civilization’s lengthening afternoon shadows. Roaming across topics as diverse as the Hebrew Bible, the history of science and mathematics, the ontology of Heidegger, and the poetry of Paul Celan, Steiner examines how the twentieth century has placed in doubt the rationale and credibility of a future tense—the existence of hope. Acknowledging that technology and science may have replaced art and literature as the driving forces in our culture, Steiner warns that this has not happened without a significant loss. The forces of technology and science alone fail to illuminate inevitable human questions regarding value, faith, and meaning. And yet it is difficult to believe that the story out of Genesis has ended, Steiner observes, and he concludes this masterful volume of reflections with an eloquent evocation of the endlessness of beginnings. (shrink)

1. Teilband. Vorwort, Einleitung, Text Band I, Abkürzungen und Stellenkommentar -- 2. Teilband. Text Band II, Stellenkommentar, Literaturverzeichnis und Namenregister.

In order to account for how organisms can apprehend the contents of the external representations they manipulate in cognizing, the endorsement of representationalism fosters a situation of what I call cognitive overdetermination. I argue that this situation is problematic for the inclusion of these external representations in cognitive processing, as the hypothesis of extended cognition would like to have it. Since that situation arises from a commitment to representationalism (even minimal), it only affects the viability of representationalist versions of extended (...) cognition. (shrink)

The paper covers the last phase of Jan Mukařovský’s career between 1945 and 1964 during which his scholarly outlook underwent several steep flections. It treats his conversion from structuralism to Marxism as a story with a distinctive composition, generic characteristics, and buildup. It articulates it into three stages and argues that each accommodates the relationship between these two scholarly paradigms in a different manner. If the initial one strove toward a harmonious merge of structuralism with Marxism, the second one triggered (...) a sharp renunciation of the former and the total acceptance of the latter, while the last one brought about a rather diffident return to some initial premises of structuralism. (shrink)