The metaphor is derived from archery. The epithet πτερόες is appropriate to arrows [πτερόεντες ỏịστοί E 171, ỉờν βλτα πτερόεντα Δ 117, οì πτερόεντες π 773, πτερόεντα 68]. Just as πτερόεντα means ‘feathered arrows,’ so πεα πτερόεντα means ‘feathered words.’ The early Greeks, when they formed a picture of words in their minds, thought of them as missiles—not as birds. Whence ‘to utter’ words is ένα or ένα. Missiles so light are more readily imagined as arrows than as spears or (...) stones. (shrink)

Most of the economic models on basic income account just for pecuniary forms of work, i. e. “time spent making money”, in employment. This restriction is a drawback of these analyses and of the standard economic labor supply model itself. If one wants to understand the potential effects of basic income on individual and social welfare, one should not restrict observation to the pecuniary uses of time. The objective of this contribution is to rethink the meaning of work usually applied (...) in economic models, based on contributions of other social scientists. This reassessment is undertaken through the development of a microeconomic model, which discusses the effects of basic income on time use and interprets work not just as a source of income, but also of non-pecuniary benefits. Further, we disentangle the usual work-leisure dichotomy in two other ones. (shrink)

This provocative, engaging and important book marks the fiftieth anniversary of the publication of Peter Winch's seminal The Idea of a Social Science . The authors – the first two philosophers, the third a sociologist – have worked together in various permutations before. No-one familiar with their previous publications will be surprised that the dominant voice throughout is Wittgenstein's – that is, Wittgenstein as read ‘resolutely’ by ‘new Wittgensteinians’. They have three principal aims: first, to read Winch's own work in (...) an equally ‘resolute’ way; hence to read ISS as prophylactic and therapeutic in intention, and not as heralding a wonderful or not-so-wonderful new social theory; secondly, to defend Winch against certain persistent charges; and thirdly, to persuade social theorists and philosophers of ‘social science’ that Winch's therapeutic lessons have not yet been assimilated, with the possible exception of a handful of ethnographers and ethnomethodologists.Following a substantial introductory section, Chapters 1 and 2 – respectively, entitled ‘Beyond pluralism, monism, relativism, realism etc.: reassessing Peter Winch’ and ‘Winch and linguistic idealism’ – argue that Winch cannot be seen as an advocate of linguistic idealism or “any of the other ‘isms’ that have been reactively bandied about …. (shrink)

In recent years there has been an upsurge of research aimed at removing the mystery from insight and creative problem solving. The present special issue reflects this expanding field. Overall the papers gathered here converge on a nuanced view of insight and creative thinking as arising from multiple processes that can yield surprising solutions through a mixture of “special” Type 1 processes and “routine” Type 2 processes.

This study aimed to investigate whether a range of tasks that have been generally classed as requiring insight form an empirically separable group of tasks distinct from tasks generally classed as non-insight. In this study, 24 insight tasks, 10 non-insight tasks, and tests of individual differences in cognitive abilities and working memory were administered to 60 participants. Cluster analysis of the problem-solving tasks indicated that the presumed insight problems did tend to cluster with other presumed insight problems, and similarly the (...) presumed non-insight problems tended to cluster with other presumed non-insight tasks. Performance on presumed insight problems was particularly linked to measures of ideational flexibility with a different pattern of results for the non-insight tasks. Spatial insight problems were linked to spatial flexibility and verbal insight tasks were linked to vocabulary scores. The results are discussed in relation to recent developments of dual process theories of thinking. (shrink)

For centuries medical schools in Britain and elsewhere had a fairly static curriculum based on what might be called the 'three Rs' of medicine, and consequently had to make room for new subjects as the need arose in a fashion which was sometimes makeshift. However, Southampton University has only had a medical school for six years, and therefore their course on medical ethics and legal medicine was carefully integrated into the curriculum after some preliminary experiments carried out by a subcommittee (...) which is continually reviewing the situation. Medical ethics has now a definite place in the fourth year, preceded by an introduction to ethical problems encountered in medicine in the first year. Not only do members of the medical faculty participate in this teaching but also members of the faculties of law and the arts. (shrink)

On the analogy of the colloquial register in some modern languages, where narrative and argument may be punctuated by oaths and exclamations in order to maintain a high affective level and compel the hearer's attention, it is reasonable to postulate that Attic conversation also was punctuated by oaths, that this ingredient in comic language was drawn from life, and that the comparative frequency of ║ M M Δ in comedy is sufficiently explained thereby. There are obvious affinities between some passages (...) of comedy, relaxed conversation in Plato and Xenophon, and the forceful, man-to-man tone which Demosthenes sometimes adopts to such good effect . Compare, for instance, Ar. V. 133 f. στιν δ' νομα ⋮ τ μν γέροντι ⋮ Φιλοκλέων / να μ Δία, τ δ' υε κτλ., where the oath is a response to imagined incredulity, and X. Smp. 4.27 ατν δ σέ, η, γ εδον να μ τν πόλλω, τε κτλ. . It is also important that the commonest oaths fit, in most of their forms, the end of an iambic trimeter: μ τν Δία, ν Δία,ν τούς θεούς, μ τος θεούς. Add that in Aristophanic dialogue over half the iambic trimeters end with major pause, and half the remainder with minor pause, and we can see why Δ / established itself early as a distinctive comic pattern. Out of 105 examples of M M Δ cited from comedy in Section II above, 59 have the oath at verse-end. In the case of πάνυ, which was almost exclusively Attic and — to judge from its great rarity in tragedy — felt by Athenian poets to be prosaic, we lack evidence on its functions in the colloquial register; it may or may not have served as affective punctuation. In prose, we have to reckon with the fact that π Mπ and Mπ π constituted a genuine stylistic choice as far back as the evidence will take us, since the two earliest instances in prose are [X.] Ath. 2.3 πάνυ δι χρείαν and ibid. 3.5 πολλ τι πάνυ. The oath, as treated by the comic poets on the basis of colloquial usage, is bound to have served as a model for πάνυ, exerting an influence which pulled πάνυ to the end of the verse, but there was also a powerful metrical constraint. As a dibrach ending in a vowel which could not be elided or enter into crasis, πάνυ was especially appropriate for verse-end. That in itself was enough both to establish Mπ π as the dominant pattern in comedy and to promote Mπ … π. Out of the total of 104 examples of Mπ π in comedy, 93 have πάνυ at verse-end, which makes Mπ π / one of the hallmarks of comic style. Mπ … π does not occur in prose in association with any other feature identified as colloquial, but it should be noted that Aiskhines and Demosthenes are much fonder of Mπ π than other prose authors. In some cases one can see that the order Mπ π avoids a succession of short syllables or hiatus or both , but there are other cases in which it has the opposite effect . The possibility of comic influence on oratorical language cannot be dismissed out of hand. It is also possible that someone will find positive determinants which will explain all the cases of Mπ π in prose. σόδρα, which, like πάνυ, is peculiarly Attic, is metrically more tractable than πάνυ, since it can be elided; even so, out of the 80 comic examples of Mσ σ no less than 58 have σόδρα at verse-end, and of those 58 there are 22 at major pause, 8 at presumed major pause and 9 at minor pause. The comic treatment of σόδρα is thus comparable with the treatment of πάνυ, and Timokles 222.4 τηρεν…σόδρα is in fact the closest analogy we have to Ar. Pl. 234 f. χθομαι…πάνυ. δέ and γάρ are a different matter, and in some significant respects different from each other. Postponement of δέ is especially prominent in Aeschylus and then abundant in fourth-century comedy. It is much less common in Euripides , rare in Sophocles and Aristophanes , and virtually limited in prose to the categories which I labelled –. There is as yet no evidence to associate postponement of δέ with colloquial language; on the contrary, it seems to have begun as a feature of poetic language and to have been taken up and exploited by fourth-century comedy. If, in addition to being Aeschylean, it was colloquial in the fourth century, what happened to it afterwards? Except for such an isolated and inexplicable case as Diod. xx85.1 — in a military narrative — it is not a feature of the Koine at literary, documentary or subliterate level. Postponement of γάρ was no doubt encouraged by postponement of δέ, but it is not itself notably poetic ). One can see how it could possibly have developed in the spoken language of the fourth century, extending the function of γάρ as an explanatory particle in a way which makes it comparable with the English ‘you see’ in ‘He didn't dare pick it up. He hurt his back last year, you see’. For an extension of this kind we may compare the current extension of the English genitive affix in ‘Then the girl whose place she was taking's mother turned up’ and ‘The man that Christopher liked's Introduction is much better’. Moreover, postponed γάρ appears in a segment of conversation constructed in indirect speech by Theophrastus in Char. 8.9 τ πργμα βοσθαι γάρ . Again we must ask: what happened to it afterwards? A couple of cases in Theophrastus' botanical works could be a reflex of the influence of comedy on literary language at Athens. The influence was plainly short-lived, since it did not affect the Koine. It is not hard to see why serious poetry in the fifth century and earlier should have experimented occasionally with the postponement of δέ and γάρ: treatment of M M q as a valid alternative to M q M is metrically very convenient. No poet, however, could afford to use common words in a bizarre, un-Greek way merely to save himself time and trouble in constructing a verse. Linguistic innovation is normally analogical, proceeding by extension from a starting-point already there, and the most obvious starting-point for postponement of δέ and γάρ is constituted by my class . This consideration provides comic postponement with a pedigree, but does not deny it individuality. The remarkable scale and frequency with which comedy exploited a phenomenon which tragedy used with restraint and prose hardly at all gives comic postponement the right to be regarded as a quite distinctive artificial feature of comedy. (shrink)

The existence of Otto Weinreich's excellent Türöffnung im Wunder-, Prodigienund-und Zauberglauben der Antike, des Judentums und Christentums continues to make an apology necessary for any re-examination of texts in which doors are made, or encouraged, spontaneously to open, to admit a divinity or, occasionally, to speed his departure. But what little fresh sustenance remains to be sucked from some of these well-gnawed bones may now be usefully supplemented with comment on a number of more recently suggested examples.