Paul Stevens; On the Nuffield Philosophy of Science, Journal of Philosophy of Education, Volume 12, Issue 1, 30 May 2006, Pages 99–111, https://doi.org/10.1111/.

The language of Greek Tragedy can be considered as a whole by virtue of the characteristics which distinguish it from that of other branches of Greek literature, and the resemblance between the three tragedians in this respect is more noticeable than the differences. Still, if we compare Aeschylus and Euripides it is impossible not to feel a marked change of tone, in λ⋯ξις as in δι⋯νοια and ἤθη. As in E. the familiar legends are frequently set in a more everyday (...) atmosphere and the characters cast in a less heroic mould, it is natural that the tone of the language should be lowered, partly by the frequent use of distinctively prosaic expressions and partly by the introduction of what appear to be colloquialisms. This change of tone in language was at once noted by Aristophanes and is referred to by Aristotle as an innovation of E. On the other hand E.'s style presents a certain anomaly, since while deliberately securing a closer approximation to the language of prose and ordinary conversation he also shows a poetic and archaizing tendency in the use of Aeschylean and Homeric words and forms not found in Sophocles. This may be due to a reluctance to depart too far from the poetic tradition of Greek tragedy, and possibly to a scholar's interest in the language of Aeschylus and Homer, in a minor degree a foreshadowing of the learned archaism of the Alexandrian poets. (shrink)

In an article published in the C.Q. of October 1937 I collected instances of the use of colloquial words and expressions in the dialogue passages of Euripides. It was there noted that a few of these expressions also appear in Aeschylus and Sophocles, and the purpose of the present study is to collect these, together with other instances of colloquialism which are found in the two earlier tragedians and not in Euripides. The colloquial element in the language of Aeschylus and (...) Sophocles is, of course, much smaller than in Euripides, but is perhaps greater than is sometimes supposed, and the topic has apparently not been treated elsewhere. (shrink)

Philip Stevens; Political Education and Political Teachers, Journal of Philosophy of Education, Volume 21, Issue 1, 30 May 2006, Pages 75–83, https://doi.org/10.

The purpose of the study was to develop an understanding of how nursing students gained perspective on nursing care of diverse populations through watching documentaries in a cultural diversity course. The basis of this paper is our analyses of students’ written responses and reactions to documentaries viewed in class. The guiding theoretical frameworks for the course content and the study included postcolonial feminism, Foucauldian thought, and cultural safety. Krathwohl's Taxonomy of the Affective Domain was used to identify themes and determine (...) how undergraduate nursing students were progressing in achieving learning outcomes. Our findings suggest that while the use of documentaries serves as a tool for deepening students’ understanding of the realities of various populations, this activity, in the absence of critical reflection, may inadvertently promote stereotypes and further marginalize different people groups. Even though nursing students reflected on the importance of cultural safety in nursing, our findings indicate that their actions may not reflect this, especially since these students are in the early stages of the nursing program. Students need to be provided with a space where they can explore implicit biases evoked by exposure to new information about different people groups as a way of enhancing culturally safe care. (shrink)

Geoffrey of Monmouth's Historia Regum Britanniae (c.1136) had an enormous impact on the young Milton, so much so that in his Latin poem Mansus he imagined re-writing it as an English national epic. The fact that he could identify with the Britons against the Saxons in this imagined poem has been taken by many to prove the instability or alterity of his Early Modern national identity. In demonstrating how early in its reception Geoffrey's history had become “Englished,” that is, how (...) early it had come to articulate the matter of Britain as England writ large, I hope to indicate that even in his earliest works—especially the Maske at Ludlow Castle, Mansus, and Epitaphium Damonis— the Londoner Milton is not so much diffident about or unrecognizable in his understanding of national identity as party, however inadvertently, to a process of relentless Anglicization. And in this I hope not to refute but to suggest the limits of contemporary Archipelagic criticism. (shrink)

A leading character in a play, at any rate in a major speech, is normally doing several things: he is saying what the development of the plot requires, and sometimes also expressing the dramatist's own tragic vision; he is also expressing his own thoughts and emotions, or saying what from his point of view the rhetoric of the situation requires. There are thus at least two questions to ask about the Trugrede: What is its function in the economy of the (...) plot? Why does Sophocles give this speech to Ajax, and what light does it throw on his character as presented by Sophocles? The first question is easy enough to answer. There can be no doubt that this is a deception speech in the sense that Tecmessa and the Chorus are misled about what is going to happen, and at any rate part of Sophocles' purpose was evidently to achieve an effect of relaxation of tension or ‘retardation’. At first all is gloom and despair; then when the suicide of Ajax seems to be imminent, this speech leads Tecmessa and the sailors to think that he means to live on after all, and they express their relief in a joyful hyporchema. Then follows a messenger speech with warnings that dispel their joy but still offer a gleam of hope, until that hope is extinguished when they find the dead body of Ajax. Sophocles has thus contrived an arresting dramatic sequence to fill the interval between the opening scene and the discovery of Ajax' death. The main effect could have been produced by direct, unambiguous falsehood in the speech we are considering, but Sophocles presumably wished the spectators to be aware that the joy and relief were illusory, so that they could at once appreciate the tragic irony of the sailors' rejoicing. There was probably no way of informing the audience directly that the speech was meant to be deceptive, and Sophocles therefore included in it numerous ambiguous expressions which the Chorus and Tecmessa, eager to believe good news, interpret as indicating a change of purpose, whereas for the spectators, who are more detached and probably aware of the traditional version of the story according to which Ajax killed himself, they have ominous overtones and arouse suspicion, in the last lines verging on certainty, that in this play too he still means to take his own life. (shrink)

The hierarchical reach of Atran's cognitive universals is unclear, and some of the key concepts used to discuss them are notorious for their imprecision. Although ideas of class hierarchy pervade Atran's discussion, other ways of thinking are also allowed. The history and practice of systematic biology suggests that a nonclass hierarchical and continuity-based way of thinking has been common there until recently.

A multiracial, socioeconomically diverse sample of 45 lesbians describe power relations in both satisfactory and problematic health care encounters with physicians. Whether doctors act in solidarity or dominate them is pivotal to lesbians' health care experiences. Solidarity means compassionate competence, empowering information exchange, and negotiated action. Domination takes form in the withholding of information, doomsaying, defensive dismissals, sexist comments, body sculpting, reproductive regulation, and bodily transgression.

While research has focused on the role of racism in (re)producing ethnic/racial inequalities in education, there is very little research that investigates how variability in minority students’ responses to racism can be explained. By using an ecological approach to integrate existing research on actors’ responses to racism, this study finds that researchers have generally neglected factors and processes situated at the micro- and meso-levels of analysis. Qualitative interview data with Turkish–Cypriot children enrolled in schools in the predominantly Greek-speaking part of (...) the Republic of Cyprus are used to investigate their strategies in response to racism and the factors that explain the observed variability in their responses. The findings suggest the importance of and interactions between factors situated at different levels of analysis, including the level of organizations and social groups and face-to-face interactions in explaining variability in young people’s responses to racism. (shrink)

Matt Neuburg, in CQ 37 , 227–30, rightly objects that it does not make sense that Pentheus should be afraid of being laughed at by the Bacchants when he is disguised as a woman,1 and proposes a new emendation. Apart from possible objections to this, I do not believe that any change is necessary if the line is properly interpreted. The main point is that γγλν does not refer to laughter at Pentheus' appearance by the Bacchants or by anybody else. (...) There is also something to be said about the implication of ν κρσσον. (shrink)