A special area of human-machine interaction, the expression of emotions gains importance with the continuous development of artificial agents such as social robots or interactive mobile applications. We developed a prototype version of an abstract emotion visualization agent to express five basic emotions and a neutral state. In contrast to well-known symbolic characters (e.g., smileys) these displays follow general biological and ethological rules. We conducted a multiple questionnaire study on the assessment of the displays with Hungarian and Japanese subjects. In (...) most cases participants were successful in recognizing the displayed emotions. Fear and sadness were most easily confused with each other while both the Hungarian and Japanese participants recognized the anger display most correctly. We suggest that the implemented biological approach can be a viable complement to the emotion expressions of some artificial agents, for example mobile devices. (shrink)

Una mirada desatenta sobre las reflexiones políticas del periodo clásico podría llevar a pensar que la Ciropedia es, por su protagonista, un producto excepcional de Jenofonte. En este trabajo nos proponemos mostrar cómo, contra esa posible concepción, la figura de Ciro goza de una destacada presencia en el grupo socrático, en particular, para Antístenes y Platón. Por esto, rastrearemos el lugar que ocupan las referencias al príncipe persa en las obras de estos dos filósofos socráticos, colocando especial atención a (...) la manera en la que se vinculan, mediante su caracterización de Ciro, con la Ciropedia. (shrink)

In his recent edition of Aeschylus' Persae Garvie prints the second strophe of the amoibaion ὀτοτοτοῖ, µάταντὰ πολλὰ βέλεα παµµιγῆ 270γᾶς ἀπ᾽ ᾿Ασίδος ἦλθεν, αἰαῖ,δᾴαν Ἑλλάδα χώραν.

En la época islámica, Apolonio de Tiana (15-100 d.C.) era conocido tanto como “Señor de los talismanes” (ṣāḥib al-ṭilasmāt), así como filósofo neopitagórico y hermético. En su Kitāb al-Aḥŷār, Ŷabir b. Ḥayyān habla de “los defensores musulmanes de Apolonio” (aṣḥāb Balīnās al-Islāmīyūn). La referencia muestra que el trabajo más prominente de Apolonio, Sirr al-jalīqa, ya era famoso en el mundo de habla árabe desde muy temprano. Este artículo proporciona una visión general de las citas de Apolonio en las fuentes islámicas (...) de diferentes campos y de las obras, generalmente, atribuidas a él. Además, reviso en Sirr al-jalīqa, sus influencias en las obras ŷābirianas y su recepción en la tradición ismailí. Este artículo aborda además el comentario árabe de Sirr aljalīqa de ‘Awn b. al-Munḏir (IV/X), conservado en un manuscrito único, y cuya traducción persa era hasta ahora desconocida. Dicha traducción cubre fragmentos del trabajo de Ibn al-Munḏir, no disponibles en árabe, y, por lo tanto, es una fuente sustancial para la historia de la alquimia islámica. Una edición de la traducción persa se presenta como apéndice. (shrink)

a1 University College DublinAt lines 7–10 the description of the sea-battle appears to involve the destruction of the oars of the enemy ship , with the result that the sailors fall over . We would expect lines 11–13 to provide some sort of contrast with this description, since εἰ δέ at 11 contrasts with 7 ảλλ’ εἰμέυ, but the exact sense is not quite clear.

Este artigo tem como objetivo analisar um aspecto da filosofia política de Xenofonte comumente negligenciado pelos interprétes: a organização militar, isto é, a hierarquia e a cadeia de comando, como o elemento que oferece a estrutura econômica e política do império Persa descrito na _Ciropédia_. A transposição desse modelo militar hierárquico confere à estrutura do Estado persa um caráter racional que visa, do ponto de vista econômico, a eficiência na produção de recursos e o equilíbrio fiscal; e, do (...) ponto de vista político, a eliminação de conflitos internos e da anarquia, bem como a rapidez na transmissão das ordens e a eficácia na execução de tarefas burocráticas, na medida em que cada um conhece o seu lugar e as suas funções nesse sistema hierárquico, que se mantém através do poder do soberano disseminado em todas as instâncias do governo. (shrink)

This article considers how mourning is configured as a site of political and aesthetic conflict in Aeschylus’ Persae. Aeschylus represents the Persian defeat at Salamis as a catastrophe that unsettles the Persians’ habitual modes of visualizing and quantifying the empire’s population as an ordered whole. Drawing on the work of Jacques Rancière and Alain Badiou, I show how characters in Persae construct novel representations of the war dead as social collectivities that do not fit into the hierarchical structures of dynastic (...) rule. I focus on two passages that stage this work in granular detail: the Messenger’s list of dead commanders recited soon after he reports the defeat and a second list of the dead sung by the Chorus in dialogue with Xerxes. Each passage advances a polemical recount of the dead, at once reevaluating the scale of the disaster and reframing how individuals and collectivities destroyed in the war should be mourned and memorialized. The Messenger and Chorus thereby contest the efforts of the royal family to count the losses at Salamis according to the circumscribed terms of imperial administration. By tracing how the memorialization of the dead galvanizes conflicting efforts to count the community as a whole, Persae raises larger questions about the political affordances of aesthetic form. (shrink)

After the accusative the names of the officers of the Egyptian contingent are given in the nominative, with no connecting particle or relative and no main verb to follow. The editors offer various supplements for the sense, e.g. Dindorf ; but what we have here is not a simple case of ellipse but a harsh change in construction which it would be hard to parallel.

That the theme of trickery and deception plays an important part in the comedies of Plautus is obvious. Although by no means absent from the comedies of Menander and Terence, it is not nearly so prominent in them as in Plautus. One reason for this difference may be Plautus' choice of Greek models, but there are good grounds for believing that changes made by Plautus to his models also served to emphasize the theme. E. Fraenkel showed that Plautus elevated the (...) scheming slave into a comic hero in a manner alien to Menander and Terence. He identified as an important factor in this heroization of the slave certain features of style, notably the recurring use of military metaphors which equate the slave with a victorious general. He also showed that Plautus probably greatly expanded certain slave roles, this expansion being most evident in elaborate polymetric monodies such as Chrysalus' Troy canticum, Bacch. 925ff. These stylistic effects and the increased bulk of the roles give greater emphasis to the Plautine scheming slave and ipso facto to the element of intrigue in the plot. The omissions which naturally went together with Plautus' insertions could also distort the emphasis of the Greek play in favour of the element of intrigue; a probable example is the Casina, in which it is generally agreed that Plautus cut the original anagnorisis ending. Recent writers have stressed another aspect of Plautus' style which helps to give a particular prominence to the theme of intrigue in his plays, his liking for metatheatrical effects, which remind the spectators that they are watching a stage performance not real life; these effects are pervasive but particularly cluster around scenes of deception, emphasizing that the deception is in a special sense a performance, a play within a play. (shrink)