R. Sorensen’s argument to the effect that ’vague’ is a vague predicate has been used by D. Hyde to infer that vague predicates suffer from higher-order vagueness. M. Tye has objected (convincingly) that this is too strong: all that follows from Sorensen’s result is that there are some border border cases, but not necessarily border border cases of every vague predicate. I argue that this is still too strong: Sorensen’s proof presupposes the existence of border border cases, hence cannot be (...) used to establish that fact on pain of circularity. (shrink)

Achille Varzi è uno dei maggiori metafisici viventi. Nel corso degli anni ha scritto testi fondamentali di logica, metafisica, mereologia, filosofia del linguaggio. Ha sconfinato nella topologia, nella geografia, nella matematica, ha ragionato di mostri e confini, percezione e buchi, viaggi nel tempo, nicchie, eventi e ciambelle; e non ha disdegnato di dialogare con gli abitanti di Flatlandia, con Neo e con Terminator. Tra le sue opere principali: Holes and Other Superficialities e Parts and Places. The Structures of Spatial Representation, (...) entrambi scritti insieme a R. Casati per MIT Press; Il mondo messo a fuoco, Laterza; e il suo libro più recente: Le tribolazioni del filosofare, con C. Calosi, per Laterza. -/- Da una giornata all’Università di Urbino nasce questa conversazione a molte voci sulla e con la filosofia di Achille C. Varzi. In un dialogo critico al quale l’Autore si presta con generosità e onestà intellettuale, Andrea Borghini, Francesco Calemi, Claudio Calosi, Elena Casetta, Valeria Giardino, Pierluigi Graziani, Patrizia Pedrini, Daniele Santoro e Giuliano Torrengo lo interrogano e mettono alla prova sui temi affrontati, nel corso degli anni, in campi diversi. Il risultato è un percorso che si snoda attraverso molti mondi, dalla logica alla metafisica, dalla filosofia del linguaggio alla filosofia della matematica, dalla mereologia alla filosofia del tempo, spingendosi in qualche caso oltre i confini del saggio filosofico. (shrink)

A selection of recent philosophical texts—in Italian translation—dealing with the mereology of material objects and the nature of their boundaries. Introduction by L. Morena. Papers by R. M. Chisholm, P. M. Simons, B. Smith, A. Stroll, A. C. Varzi.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Achilles and Hector: The Homeric HeroBryan R. WarnickAchilles and Hector: The Homeric Hero, by Seth Benardete. South Bend, IN: St. Augustine's Press, 2005, 140 pp., $17.00 cloth, $10.00 paper.Seth Benardete (1930-2001) was one of the twentieth century's premiere scholars of the classical world. His prominence was largely due to his technical excellence in both ancient philosophy and classical philology, a rare combination that allowed him to become, (...) as Harvey Mansfield has written, "Our greatest student of the relation between poetry and philosophy."1 He wrote groundbreaking discussions of Greek literature (especially the tragedies) and the Platonic dialogues. His work culminated in his study of The Odyssey, The Bow and the Lyre (1997), a book that compared the plot of epic poetry to the development of a Platonic dialogue.Before Benardete achieved lasting fame, however, he was a doctoral student at the University of Chicago, working with Leo Strauss and the Committee on Social Thought and developing friendships with people like Allan Bloom. The writing of his dissertation is the stuff of scholarly legend. According to the story, it developed from a pile of nonsensical notes on the Iliad to a work of budding genius in four weeks. This dissertation, "Achilles and Hector: The Homeric Hero," was published in St. John's Review in 1985, and it has now been reprinted so that we can examine for ourselves the significance of Benardete's early work.As the title suggests, Benardete's dissertation looks at the theme of heroism in Homer, focusing on the Iliad. He examines the relationships between the poem's smallest parts and its largest themes. The book is divided into two sections. In the first section, Benardete grapples with how the small components of the Iliad, the epithets and similes, work together meaningfully to inform the larger heroic themes of the epic. The second section examines Homer's view of the tragic hero through an analysis of the plot. The analytic skill exhibited in both sections is fascinating: some parts of the study are brilliant, others strained, but none are boring.Benardete's purpose in the first section, he says, is to "vindicate the epithets" (135). This vindication is necessary because, as scholarship on the oral nature of the Homeric epics has developed, the significance of the smaller components has seemed to diminish. The epithets and similes have come to be seen as mere crutches for the oral poet; they are linguistic tools whose characteristics allow them to be plugged into Homer's unrelenting dactylic hexameter whenever a particular rhythmic pattern is needed. The poet uses the epithet of "swift-footed" Achilles, then, not so much because he particularly wants to say something meaningful about Achilles' swiftness, but because the particular rhythmic pattern of the epithet is a handy way to complete a line of poetry. The meaning of things like the epithets in any particular moment, it has seemed to many, should therefore be taken with a grain [End Page 115] of salt. In contrast, Benardete wants to argue that each particular use of an epithet has a significant meaning that informs, and even constructs, the epic's larger themes (for Benardete's purposes, the theme of heroism).Benardete's success in this goal is somewhat uneven, as even he later came to realize. A few of his conclusions appear rather stretched and neglect to consider the whole in the analysis of the parts. For example, Benardete looks at the Trojan epithets megathymoi ("great spirited") and hippodamoi ("tamers of horses") and finds them to be two manifestations of a constant Trojan character. One epithet is for the activities of war (megathymoi), the other one for peace (hippodamoi). But for Benardete, they both say the same thing about the constantly emotional, almost animalistic nature of Homer's Trojans, who are perfectly defined by passionate warfare: "The Trojans are more readily affected than the Achaeans, who can remove their armor and be different in peace than in war: but the Trojans cannot so easily shake off their temper" (21). While certainly interesting, such an analysis neglects to take into account prominent scenes like the one in which Astyanax, Hector... (shrink)

A brief introductory note to the Monist issue on "Temporal Parts", setting the background for the eight papers included in the rest of the issue (by Y. Balashov, B. Brogaard, K. Fine, M. Heller, R. LePoidevin, J. Parsons, P. M. Simons, and P. van Inwagen).

The idea that an adequate semantics of ordinary language calls for some theory of events has sparked considerable debate among linguists and philosophers. On the one hand, so many linguistic phenomena appear to be explained if (and, according to some authors, only if) we make room for logical forms in which reference to or quantification over events is explicitly featured. Examples include nominalization, adverbial modification, tense and aspect, plurals, and singular causal statements. On the other hand, a number of deep (...) philosophical questions arise as soon as we take events into consideration. Are events entities of a kind? What are their identity and individuation criteria? How does semantic theorizing depend on such metaphysical issues? The aim of this book is to address such issues in some depth, with emphasis precisely on the interplay between linguistic applications and philosophical implications. Contributors: N. Asher, P. M. Bertinetto, J. Brandl, D. Delfitto, R. Eckardt, J. Higginbotham, A. Lenci, T. Parsons, A. ter Meulen, H. Verkuyl. A comprehensive introductory essay (pp. 3-47) is included. (shrink)

This article endorses with substantial modifications M. Bernal's claim that the Greeks based Memnon on Ammenemes II of Egypt. An Egyptian origin for Memnon appears likely from Zeus' weighing of his fate against Achilles' in the Aethiopis, which is similar to an early spell of the Book of the Dead; from his Amazonian ally, who resembles the Nile-god, clad in a girdle with a single breast; and from his apotheosis, which is unlike Homer's usual view that the soul is (...) witless in death, yet is reminiscent of the soteriological Osiris-cult, which was known to the Mycenaeans. Bernal's view that Memnon was specifically Ammenemes, however, rests on one word in Strabo, judged by editors to be a scribal error. Cases for two other proposed models, Khumben-numena I of Elam and Sethos I of Egypt, are too complex and fragile to accept. Since at least the first century, the Greeks themselves linked Memnon to Amenhotep III of Egypt, calling a portrait-colossus of that pharaoh "Memnon." This identification was based, I argue, on the fact that the statue faces sunrise on the winter solstice and so was linked to the dawn. Amenhotep's name is too unlike Memnon's to have attracted to him a preexisting Greek figure, but, as P. Gilbert proposed, Amenhotep may have been the basis for that figure, for archaeological evidence shows his contact with the Aegean. Like Memnon, Amenhotep formed military pacts with eastern kings, was son of a solar deity, and was exceptionally handsome. Moreover, his father's name was Tuthmosis . In short, Bernal argues well that epic based Memnon on a real person, rightly seeks him in Egypt, but fails to rule out Amenhotep. (shrink)

It has been argued that we find zeno's paradoxes of motion persuasive because physical time is dense and continuous, While time as we experience it is discrete. But we do not experience time as a succession of distinct, Countable, Consecutively ordered mental "nows." nor is it common to attempt the futile mental task of traversing in thought the infinite number of spatial subintervals in zeno's paradoxes, As has also been suggested. Rather, We find the paradoxes persuasive because there are a (...) number of different conceptual and linguistic problems inherent in them. For instance, Understanding how it is possible for achilles to come to the end of an endless sequence of spatial intervals requires disambiguating different senses of the word "end.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aristotle’s Nicomachean Ethics and Shakespeare’s Troilus and CressidaW. R. EltonIn Shakespeare’s Troilus and Cressida there occurs a particular pattern of parallels with Aristotle’s Nicomachean Ethics regarding ethical-legal questions surrounding an action: issues of the role of the voluntary or the involuntary, of volition and choice, of choice and virtue, and of virtue and habitual action. 1Aristotle’s EN was familiar to Elizabethan higher education and was reprinted in translation in (...) numerous editions, with commentaries, in the sixteenth century. 2 Twice Shakespeare alludes to Aristotle by name: first, recalling his ethics, in Taming of the Shrew (I.i.32)—cf. I.i.18–20 on [End Page 331]Virtue and that part of philosophy... that treats of happiness By virtue specially to be achiev’d,and second, in Troilus (II.ii.166–67) on Aristotle and “moral philosophy.” 3Opening EN, III, Aristotle distinguishes those actions that are “voluntary” from those that are “involuntary,” remarking the necessity to determine their limits. Such a course, he adds, is “useful also for legislators with a view to the assigning both of honours and of punishments” (1109 b 32–34). What Aristotle examines, in effect, is the procedure of determining culpability for an act. 4Under what circumstances and to what extent is one responsible for his action? In addition to the voluntary and the involuntary, there are such act-related dualisms as volition and choice, choice and virtue, and virtue and habitual practice. Such ethical-legal issues are appropriate to a play whose war-plot turns on an abductor’s culpability for an action and the subsequent issue of prescriptive possession—the Grecian claim to Helen against her Trojan possessors. 5The VoluntaryIn Troilus Aristotle’s voluntary-involuntary distinctions seem exemplified. 6 A passage (I.iii.354–56), previously glossed by the present writer, suggests a [End Page 332] parallel EN instance of the voluntary. 7 Aristotle defines the voluntary as “that of which the moving principle is in the agent himself “ (1111 a 23–24). In Troilus Nestor, recalling the agent’s responsibility for acts, explains:Limbes are in his instruments, In no lesse working, then are Swords and Bowes Directiue by the Limbes(I.iii.368–70).These lines occur in Troilus, Folio (1623), and are omitted, along with other relatively specialized lines, from Quarto (1609): 8 according to Aristotle, “the movement of the limbs instrumental to the action originates in the agent himself, and when this is so it is in a man’s own power to act or not to act.” 9 Where EN has “limbs... are the instruments,” F Troilus has “Limbes are in his instruments” (cf. Walker ed., I.iii.354).Limbs are instruments of the agent’s responsibility, as are the swords and bows employed by those limbs. Such a passage in Troilus on the responsibility and voluntariness of acts could have been recognizable to an academic (especially legal) audience and, as rehearsed by the ancient Nestor, might have drawn reminiscent response.The InvoluntaryIf Nestor (I.iii.354–56) had been voice of the voluntary, the combat-withdrawn Achilles is arbitrator of the involuntary. Responding to Thersites’ “I serve here voluntary,” Achilles adjudicates, “Your last service was sufferance, ‘twas not voluntary. No man is beaten voluntary. Ajax was here the voluntary, and you as under an impress” (II.i.94–97). Mocking Thersites’s “service,” including being beaten, Achilles argues this could not be “voluntary.” His “no man is beaten voluntary” echoes Aristotle’s own familiar terms, denying that a man can be wronged or injured voluntarily. In his commentary on EN John Case [End Page 333] gives the assurance that “No one voluntarily suffers injury..., no one voluntarily and maliciously harms himself: therefore no one willingly suffers injury.” 10In such instances as those above, Troilus (II.i.94–97) recalls basic legal procedure, including determination of the degree of responsibility for an action. What is the minimum requirement of the law before a man can be held accountable? “Those things... are thought involuntary,” says Aristotle, “which take place under compulsion... and that is compulsory of which the moving principle is outside, being a principle... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Picking Up the Pieces of a Shattered Culture:Abandoning Sartre for AquinasR. E. HouserI expect to die in my bed, my successor will die in prison, and his successor will die a martyr in the public square. Then his successor will pick up the shards of a ruined society and slowly help rebuild civilization, as the Church has done so often in human history.—Francis Cardinal George (2010)Here I propose to (...) present a feature of the ethics of Thomas Aquinas, his ethical doctrine of virtue, concentrating on the four cardinal virtues—justice, prudence or good practical judgment, courage, and temperance. Plato first selected them as the four premier virtues, but they go back at least to Homer, for whom wily Odysseus exemplified prudence, warlike Achilles courage, old Nestor justice, Penelope and Telemachus, Odysseus' wife and son, temperance. And I offer them as central to living the morally good life required to "rebuild civilization" in an America that so fair and judicious a man as Cardinal George could call a "ruined society." To see the need for Thomas's solution, we must begin with the problem. Now, all societies depend upon the deep and fundamental ideas of the most important thinkers, prophets and sages, saints, and yes, even philosophers. Their ideas "trickle down" to influence regular folk, like you and me, those who whose hard work actually makes a society thrive, or die. And when those fundamental ideas change, the moral principles of those who embrace those ideas change, and consequently their actions change, and as a result the wider society in which they live changes, for better or worse. Such effects can now be felt across America [End Page 135] by all; but most of us are unaware of the primary intellectual agents of these changes, since they operate at the level of fundamental ideas, not politics or business or day-to-day life. And often their originators have died before the ideas reach full cultural force. So, ignorance of history makes it difficult to deal with present problems caused by those ideas.My first conclusion will be that a major cause of the current coarsening of our culture is the group of ideas of the French philosopher Jean Paul Sartre, even though most Americans have never heard of him, and most of those who recognize his name have not read his works carefully enough to see the connection. Why Sartre? In the honors program at my university, I had a bright young lady of Muslim heritage who had gone to a lycée, one of France's elite classical secondary schools. "Did you read the classics?" "Yes." Expecting Montaigne or Pascal, I asked, "Who?" Her answer: "Sartre." So let us begin with the theory and practice of Sartre and his long-time lover Simone Beauvoir, whose book The Second Sex was an intellectual spark for the women's liberation movement. Then we turn to some real-life examples of Sartrean influence on ourselves and American culture. Finally, for the best remedy for non-Christian and Christian alike, I recommend Aquinas's doctrine of virtue, when taken in its full scope.Sartre's Ethics of Absolute FreedomIn 1946, the year I was born, Sartre gave a lecture to a meeting of French librarians, which became his most popular book, Existentialism is a Humanism. There he laid out the core of his thought about God, humans, and their ethical behavior. Here I arrange his main ideas in an order that facilitates comparison with Aquinas, beginning with his view of human ontology and proceeding to its impact on the four cardinal virtues.Human OntologySartre turned his back on the traditional metaphysical view that every creature is an individual substance defined by a nature or essence it has in common with all other things of that type. In his "first principle of existentialism," Sartre skips over other animate things, plants and animals, and compares humans to inanimate objects:Let us consider... a book or a paper-cutter: here is an object made by an artisan whose inspiration came from a concept.... One cannot postulate a man who makes a paper-cutter but does not know what it is... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Age of Grace: “Charis” in Early Greek PoetryDana R. SmithThe Age of Grace: “Charis” in Early Greek Poetry, by Bonnie MacLachlan; xxi & 192 pp. Princeton: Princeton University Press, 1992, $29.95.Bonnie MacLachlan has two concerns in this book. First, she sees early charis, conventionally and inadequately translated as “grace,” as the result of feeling, concrete action, and sometimes concrete objects, fused in such a way that early (...) Greeks did not clearly distinguish these as separate aspects. Second, she focuses on the experience of beauty or pleasure as a crucial part of reciprocity in charis, and argues that many of the now-fashionable models from the social sciences, such as those dealing with reciprocal exchange of goods and favors, are insufficient to account for this particular dynamic of allurement. What later ages sensed, and what we sense, as two or more different kinds of charis “may not have been sensed as such by the archaic Greek mind.” Rather, the early Greeks possessed an integrated sense of these fragments as part of a single experience. “A charis-event, provoked by moral or aesthetic beauty, was disarming; it broke down the barriers of the self, and it demanded that the beneficiary reach out to another.” This study combines extremely able discussions of different sides of this crucial concept with a large vision of their integration into a coherent whole: “[Charis] was the moral glue of their society, linking such other central moral ideas as timê [“honor,” “prerogative,” “price”], dikê [“due portion,” “justice”], themis [“unwritten law”], xenia [“requital of gifts and hospitality”], and aidôs [“reverence,” “awe”].”How well does MacLachlan demonstrate this twofold idea? She deserves high praise for setting forth the essential passages of her authors clearly and succinctly, for giving numerous insights into them, for adducing much pertinent scholarship, and certainly for furthering the development of her important thesis. Her discussion of the earliest conception of charis (chap. 2, “The Charis of Achilles”), focused mainly on Homer, with material from the Homeric Hymns and Hesiod, gives a sensitive and persuasive account of relations among charis, timê, and dikê. She makes excellent points about specific perceptions of beauty, especially visual, although one comes away a bit uncertain as to how these aspects all cohere, and also as to whether there are differences in charis between the Iliad and the Odyssey. Her discussion of the cult dimensions of charis (chap. 3, “The Charites”), while fascinating in itself, contains little direction for using this information so as to understand the thesis. She gives careful readings of her examples of erotic and social charis (chaps. 4 and 5, “Erotic Charis” and “Social Charis”), clearly identifying types that contrast with the earlier prototypical experience, although sometimes her criticism of these is more implicit than stated. A more forceful definition of the “problem” of erotic charis, for example, would have helped unify this discussion with that of erotic charis in Aeschylus. Her discussion of Pindar and Bacchylides (6, “Epinician Charis”), perhaps the high point of the book, shows the richest ties to the multi-dimensional Homeric charis; here we return clearly to the topic of [End Page 172] beauty, see the pertinence of some of the cult information, and sense the transformational dynamics of charis as profoundly important for this genre of poems. She leaves somewhat open, however, the question of whether charis is a single thing in Pindar. The chapter on Aeschylus (7, “Charis in the Oresteia”) presents a powerful reading of different kinds of charis in conflict, private versus public, resulting in a unified view of the trilogy as a whole. Once more we note different senses of charis, but in a way that highlights their collision: the duality of charis is further brought into relation with other dualities, such as that of dikê. This chapter connects well with other parts of the book; erotic and false charis become important issues.If there is a criticism to make of this book, it is that MacLachlan does not do quite enough to work out the relations between her provocative thesis and her discussions of particular poems. Some sections are too dissertation-like in presenting evidence, and more thought about the... (shrink)

Bernard Williams turns not to philosophy, but to poetry--to archaic and fifth century Greece--as the source of the Greeks' ethical world. His declared aim is to understand the poets as poets, not as philosophers. At first blush this seems problematic. Can we take seriously the notion of a responsible moral agent in a world where the forces of supernatural necessity, fate, and luck make mortals seem like divine playthings? It is in this context, however, that Williams investigates the role of (...) tragedy and its place in Greek society, thus paying homage to his teacher at Oxford, Eric Dodds, author of The Greeks and the Irrational. Williams discusses specific agents in specific circumstances--Ajax bent on self-destruction, Oedipus ignorant of the pollution of his actions, Agamemnon in a fit of madness about to murder his daughter, Achilles fully aware of his chosen fate, and others--in order to display people who make decisions and act on them. He attempts to show that the foundations of our ethical views, rooted in conceptions of agency, responsibility, shame, and necessity, are already present in Homer, thus silencing the claim of certain modern moralists that the Homeric characters are childish and incapable of true morality. (shrink)

This review article puts two recent publications —Existence and Heritage: Hermeneutic Explorations in African and Continental Philosophies by Tsenay Serequeberhan and What Fanon Said. A Philosophical Introduction to His Life and Thought by Lewis R. Gordon—in conversation with Achille Mbembe’s renowned On the Postcolony, first published in French in 2000, in English in 2001, and here reviewed in the 2015 Wits University Press edition. The opportunity for such a literary dialogue to take place across fifteen years is occasioned both by (...) the latest South African edition of On the Postcolony, which in itself invites a fresh reading of Mbembe’s manifesto on postcolonial authoritarianism in Africa, as well as by the different potential outcome of the postcolonial condition that Gordon and Serequeberhan envision and propose with respect to Mbembe. I argue that while Mbembe’s pessimistic portrayal of the postcolonial present is one whereby it is difficult to envision transformation, both Serequeberhan and Gordon’s books offer a rich philosophical terrain from which to imagine possible futures, grounded in notions of dialogue and solidarity, that, however, vary significantly for each author. (shrink)

The Anger of Achilles, Robert Graves’ 1959 translation of Homer’s Iliad, has been variously dismissed by classical scholars as an ‘outrageous sortie into the field of translation’ and a work of ‘sheer egotism’, marred by its author’s ‘scattered yapping’. And yet, it can be read with greater understanding if we approach it not merely as a literary anomaly, but as a refraction of Graves’ experience of ‘Shell Shock,’ or PTSD, following his front line service during the First World War. (...) This paper proposes that the act of translation can itself be cathartic, creating a formalized textual space in which the translation of traumatic memory into narrative memory becomes viable, and that Graves used Homer’s epic as a tool to access his own occluded, traumatic past. By comparing The Anger of Achilles to R. Lattimore’s relatively literal translation of the Iliad, it will illuminate the ways in which the former is deeply rooted in Graves’s experience of combat, his ensuing neurasthenia, and the personal Myth by which he made sense of both – the matriarchal mythopoetics of The White Goddess. (shrink)

Bu çalışma, insanın bir eylemi olarak ortaya çıkan ırkçılık kavramını irdeleyerek Mbembe’nin bu kavramı nasıl tanımladığı ve bu kavramın insan varoluşunda nasıl bir anlam kazandığını göstermeyi hedeflemektedir. Ayrıca ırk, ırkçılık, zenci ve sömürgeci kavramları arasında nasıl bir ilişki olduğunu, Mbembe’nin önemli gördüğümüz iki eseri bağlamında irdeleyerek bu kavramlar üzerinde genel bir değerlendirme yapılmayı amaçlamaktadır.

To Professor E. R. Dodds, through his edition of Euripides'Bacchaeand again inThe Greeks and the Irrational, we owe an awareness of new possibilities in our understanding of Greek literature and of the world that produced it. No small part of that awareness was due to Professor Dodds' masterly and tactful use of comparative ethnographic material to throw light on the relation between literature and social institutions in ancient Greece. It is in the hope that something of my own debt to (...) him may be conveyed that this paper is offered here, equally in gratitude, admiration and affection.The working out of the anger of Achilles in theIliadbegins with a great scene of divine supplication in which Thetis prevails upon Zeus to change the course of things before Troy in order to restore honour to Achilles; it ends with another, human act in which Priam supplicates Achilles to abandon his vengeful treatment of the dead body of Hector and restore it for a ransom. The first half of theOdysseyhinges about another supplication scene of crucial significance, Odysseus' supplication of Arete and Alkinoos on Scherie. Aeschylus and Euripides both wrote plays called simplySuppliants, and two cases of a breach of the rights of suppliants, the cases of the coup of Kylon and that of Pausanias, the one dating from the mid-sixth century, the other from around 470 B.C. or soon after, played a dominant role in the diplomatic propaganda of the Spartans and Athenians on the eve of the Peloponnesian War. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Truth in Tragedy:When are we Entitled to Doubt a Character's Words?A. Maria Van Erp Taalman KipIn Sophocles' Electra 563–76 Electra explains what happened at Aulis. Because Agamemnon had shot a stag in Artemis' grove and boasted of his deed, the goddess demanded the sacrifice of his daughter. If he refused, the Greeks would not be allowed to leave Aulis, either to go home or to sail to Troy. Thus, (...) Electra assures her mother, he was forced to make the sacrifice, "under sore constraint and with sore reluctance" (tr. Jebb, Sophocles ad loc).The same version of the story is found in the Cypria(Davies, Fragmenta 32, 55–63), but Sophocles adds a new detail: the impossibility of going home. This is a significant addition. According to the Cypria, Agamemnon could have renounced the war in order to save Iphigeneia, but this solution was not open to his Sophoclean namesake, since refusal meant the Greeks were doomed to remain at Aulis, more or less as prisoners. In this way, we are given to understand that for Sophocles' Agamemnon there was in effect no alternative. This considerably lessens his guilt, while Clytaemnestra is largely deprived of what might have been a righteous motive for her deed. The other motive, her adulterous love, now carries all the weight. But is what Electra says true? Or, to be more precise: are the audience meant to accept her information as true?A number of scholars have answered this question in the negative and it may be useful to begin by examining their arguments. In his article with the telling title "A Defence of Sophocles" J. T. Sheppard asks: "What if the story... were false? 'They tell me...,' she says (566). But what if it were not true? What if Agamemnon was a criminal?" (7). J. H. Kells (Electra), in his general introduction to 566–633, ridicules the whole story as recounted by Electra: "This was the popular belief as to how such unpleasantnesses as Ajax's madness and the Greeks' detention at Aulis came about. But did Sophocles expect an intelligent person to believe it? I do not think so, since in Ajax, in which such causes of Ajax's madness are ventilated, we are also given a behind–the–scenes picture [End Page 517] of the goddess concerned in action (Ajax 1–133), and there we see that the madness of Ajax was in fact inspired by no such divine jealousy: it was simply to prevent Ajax from killing the Greek leaders (51)—an aim which he conceived through no divine infatuation, but because he was angry over the bestowal of the arms of Achilles (41)."Kells' comment on 573 is also noteworthy: : did any intelligent Greek really believe this?" and on 566ff: " 'as I am told.' Does not she know why her father sacrificed her sister?" In the same vein R. P. Winnington–Ingram (Sophocles 220) says that "Electra's account of Aulis, admittedly second–hand ( 566), is the story she would like to believe; and we can hardly suppose that Sophocles wishes us to take it too seriously as an explanation of events." In a note he refers to Kells and adds: "If Sophocles had been concerned to give a serious account of Agamemnon's dilemma, he would hardly have trivialized it in the way he does. The fact remains that Agamemnon did kill his daughter."1On closer inspection, these arguments are not actually arguments at all. Both Kells and Winnington–Ingram appear to be very certain about Sophocles' intentions and expectations, but neither of them presents any convincing reason to disbelieve Electra's account. Sophocles does not give them what they want and therefore they assume that he is not serious. Winnington–Ingram may consider Agamemnon's dilemma trivial, but it makes no sense to say that Sophocles trivialized it, as if it were something real that existed outside of myth. For the purpose of this play, the reason for Artemis' demand was not relevant, but the sanction was. And what about Kells' rhetorical questions? He does not explain why an "intelligent person" or an "intelligent Greek" would disbelieve what Electra says. Because it is... (shrink)

An algebraic semantics, based on factor algebras, for one-way and two-way implicative verbs is proposed. Implicative verbs denote elements of filters or of ideals generated by identity functions in factor algebras. This semantics explains in particular the problem of implicational equivalence raised by two-way implicative verbs, and shows that the negation necessary to establish the implicativity of these verbs is the negation which preserves the presuppositions of sentences with implicative verbs. In addition, it follows from the proposed semantics that any (...) two implicative verbs denoting in the same algebra but belonging to different categories, are semantically related. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:R. D. Ackerman BELIEVING IN A FICTION: WALLACE STEVENS AT THE LIMITS OF PHENOMENOLOGY The "ring of men" of "Sunday Morning" will chant their "devotion to the sun, / Not as a god, but as a god might be, / Naked among them, like a savage source" (CP, pp. 69-70).' Solar nakedness is deferred even as it is named. The problem for belief is the question of appearance and (...) representation. Things appear as and like.... The phenomenological return to things is also a turn to fiction, as Husserl understood: "If anyone loves a paradox, he can really say... that the element which makes up the life of phenomenology... is fiction. ' " The sun is divine, and it is not; it is both naked and clothed, savage and civilized, source (or end) and means. But such paradox is ultimately unsatisfying, and as we will see with Stevens, the need for belief—for an image or idea of totality—forces the issue of fiction and reality. The Stevens we will have in view is not the Stevens—as if there were such a creature. Our Stevens is the one most persuaded by promises such as those of phenomenology, the one most concerned with decreation (reduction) and fresh beginnings, with discovery and recognition, with imagination, the body, and the earth. This is the Stevens for whom the barrier of language presages at last not absence and difference but fictive recovery of presence and identity, the one for whom poetry represents a way of belief beyond mysticism even as it bodes mythic proximity. Finally, this is the Stevens who predominates throughout the prose (as well as in much of the poetry), who tries mightily to secure a belief while disencumbering himself of metaphysics—but alas, I think, with small success. Although Stevens's association of the problem of belief with the idea of fiction occurs in early poems such as "A High-Toned Old Christian 79 80Philosophy and Literature Woman" and "To the One of Fictive Music," his most intensive involvement with fiction as belief dates from the early 1940s and spans the period of his major essays and his last four volumes of poems. He recounts, for instance, a 1942 conversation with a student: "I said that I thought that we had reached a point at which we could no longer really believe in anything unless we recognized that it was a fiction. The student said that that was an impossibility, that there was no such thing as believing in something that one knew was not true. It is obvious, however, that we are doing that all the time" (L, p. 430). What does it mean to believe in a fiction? That is my main subject here, as we seek out the limits of the phenomenological Stevens. His letters of this period are preoccupied with the problem of fictive belief: "If one no longer believes in God (as truth), it is not possible merely to disbelieve; it becomes necessary to believe in something else.... A good deal of my poetry recently has concerned an identity for that thing.... In one of the short poems that I have just sent to the harvard advocate, I say that one's final belief must be in a fiction. I think that the history of belief will show that it has always been in a fiction" (L, p. 370). The poem referred to, "Asides on the Oboe," begins: The prologues are over. It is a question now, Of final belief. So, say that final belief Must be in a fiction. It is time to choose. (CP, p. 250) Acknowledging that "in the long run, poetry would be the supreme fiction" (L, pp. 430-31), Stevens nonetheless singles out the nominative function of poetry as the essence of its claim to supremacy: "Poetry means not the language of poetry but the thing itself.... The subject matter is what comes to mind when one says of the month of August... 'Thou art not August, unless I make thee so'" (L, p. 377). The quoted line (also from "Asides") underscores the paradox that for Stevens the essence of fiction (the nontrue) is its capacity to nominate the true or the real. This... (shrink)

A simple model accounting for semantic properties of propositional attitude operators in negative contexts with no reference to possible worlds is proposed. Verbs occurring in such operators denote relations between individuals and specific sets of sentences (of a given natural language) and their negation is defined as the complement within a specific set of cognitively determined sentences. This approach avoids in particular the problem of intensionality of propositional attitude operators and allows to use many tools from the generalised quantifier theory. (...) In that way the negation giving rise to factive presuppositions and to the neg-raising is defined in a natural way. (shrink)

The Holy Qur'an is the divine book of revelation that gives meaning to human life. The relationship between the concept of fitra in the 30th verse of the Qur'an Surah Ar-Rum and the search for the meaning of man is important. The human being, called to act according to the principles of the Qur'an and realize his existence by the wisdom of creation in the verse, a man should give meaning to the values that govern him, to the gains he (...) has achieved at the end of his actions, according to the principles of the Qur'an. Within the framework of the basic responsibility of Read-Think-Understand-Live, which the Qur'an demands from us, answers to the following questions were sought in the article: How does the Quran respond to the needs of human nature and the search for meaning? What basic guiding principles and values do the Qur'an want people to do? We asked these questions because the attitude of a person towards the changing aspects of life is closely related to the answers given to these questions. For this purpose, the titles of the article were created as: "Man's Search for Meaning and the Qur'an"; “Relation between Religion and Fitra in the Context of Verse 30 of Surah Rum”; "The Qur'an's values regarding the meaning of Life that appeals to the Fitra"; This research has a descriptive feature in terms of its function. We tried to describe the issue with the descriptive method. Thus, it is aimed to create awareness about the Qur'an, which introduces itself as the guide of guidance, about the search for meaning in terms of the relationship between the Qur'an and fitra. (shrink)

Arvind Thomas has written a remarkable book. That said, however, it must be quickly added that it is not a book for everyone, not even for all students of medieval literature. It is a very thoughtf...

As everyone knows, since the end of the Second World War there has been a sensational revival of interest in the non-Christian religions particularly in the United States and in this country. The revival has taken two forms, the one popular, the other academic. The first of these has turned almost exclusively to Hindu and Buddhist mysticism and can be seen as an energetic reaction against the dogmatic and until very recently rigid structure of institutionalised Christianity and a search for (...) a lived experience of the freedom of the spirit which is held to be the true content of mysticism, obscured in Christianity by the basic dogma of a transcendent God, the ‘wholly Other’ of Rudolf Otto and his numerous followers, but wholly untrammelled by any such concept in the higher reaches of Vedanta and Buddhism, particularly in its Zen manifestation. On the academic side the picture is less clear. There is, of course, the claim that the study of religion, like any other academic study, must be subjected to and controlled by the same principles of ‘scientific’ objectivity to which the other ‘arts’ subjects have been subjected, to their own undoing. But even here there would seem to be a bias in favour of the religions of India and the Far East as against Islam, largely, one supposes, in response to popular demand. (shrink)

_Fugitive Images: From Photography to Video_ Edited by Patrice Petro Bloomington: Indiana University Press, 1995 ISBN 0-253-20890-4 314 pp.