The Criminal Underworld in a Medieval Islamic Society: Narratives from Cairo and Damascus under the Mamluks. By Carl F. Petry. Chicago Studies on the Middle East, vol. 9. Chicago: Middle East Documentation Center, 2012. Pp. viii + 365. $70.

This book was first published in 2004. Plato, Aristophanes and the creators of the 'Orphic' gold tablets employ the traditional tale of a journey to the realm of the dead to redefine, within the mythic narrative, the boundaries of their societies. Rather than being the relics of a faded ritual tradition or the products of Orphic influence, these myths can only reveal their meanings through a close analysis of the specific ways in which each author makes use of the tradition. (...) For these authors, myth is an agonistic discourse, neither a kind of sacred dogma nor a mere literary diversion, but rather a flexible tool that serves the wide variety of uses to which it is put. The traditional tale of the journey to the Underworld in Greek mythology is neither simple nor single, but each telling reveals a perspective on the cosmos, a reflection of the order of this world through the image of the other. (shrink)

Em 1845, ainda durante o período de redação da obra que seria o Pós-Escrito Conclusivo Não-Científico às Migalhas Filosóficas – trabalhado sob o título provisório de Problemas Lógicos –, Kierkegaard esboça em seus Papirer (IV A 145) um curioso esquete que se passaria nos Infernos – ou Submundo – envolvendo um diálogo entre Sócrates e Hegel. Neste diálogo acerca do famigerado problema do início da filosofia hegeliana, Kierkegaard descreve Hegel fazendo a leitura da página 198 do segundo volume das Logische (...) Untersuchungen, de F. A. Trendelenburg. A citação precisa da página, feita por Kierkegaard, não poderia ser senão uma indicação da relevância de seu conteúdo para o tema debatido entre os dois filósofos no diálogo imaginário. De fato, está aí presente, entre outros argumentos, a acusação da intromissão da Anschauung no reino do pensamento puro, em especial no início da Lógica de Hegel. Assim, pretendemos neste trabalho (1) explicitar o argumento trendelenburguiano relativo à Anschauung, bem como (2) fazer alguns apontamentos da recepção kierkegaardiana do argumento a partir das relações deste com as teses centrais do Pós-Escrito. (shrink)

Flattering the oracle -- The tyrant's invitation -- A soul turned upside-down -- The Socratic cosmos.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Mismapping the Underworld: Daring and Error in Dante’s ‘Comedy’Edward Donald KennedyMismapping the Underworld: Daring and Error in Dante’s ‘Comedy,’ by John Kleiner; 182 pp. Stanford: Stanford University Press, 1994, $32.50.Critics once emphasized the unity and apparent perfection of Dante’s Divine Comedy. In Mismapping the Underworld, John Kleiner emphasizes instead the imperfections, the inconsistencies, and inaccuracies in Dante’s work both to give a more accurate assessment (...) of Dante’s artistry and, as he remarks, to help readers “learn to enjoy” the imperfections (p. 2).The five chapters of the book are devoted to various cruces in the Vita nuova and the Comedy. The first chapter considers numerology in the Vita nuova: pointing out that scholars’ arguments for that work’s numerological symmetry have been flawed, Kleiner asks if Dante had as much “passion for order” as scholars have assumed. The second chapter, from which the title of the book is taken, considers earlier scholars’ attempts to draw accurate maps of Dante’s vision of Hell and inaccuracies and inconsistencies in that vision. Probably not many readers, for example, have realized that Satan, partially buried in the ice of Cocytus at the bottom of Hell, must be about 2,500 feet tall, if one calculates his height from the evidence Dante has given us, and even the part of his body extending above the ice must approximate “the height of the World Trade Center.” One must then ask how Dante, the narrator in the poem, is able to give such detailed descriptions of the tormented bodies of Cassius, Brutus, and Judas dangling from Satan’s mouth: “at their height they should be as insignificant a sight as a trio of deluded tourists waving from the top of the Empire State Building” (p. 44). One of the reasons why scholars have attempted to map the underworld so precisely is, as Kleiner points out, that Dante makes it seem so much more concrete than the “dreamlike” surface of earth. (Here C. S. Lewis may have taken a clue from Dante, in his notion that the concrete belongs to Heaven, that things on earth are only “shadowlands.”)The third chapter concerns Dante’s reputation as a student of classical literature. Here, focusing on two cantos of the Inferno and the Purgatorio, Kleiner considers Dante’s inaccurate citations from Virgil, Statius, and other [End Page 415] classical writers and his intentional use of “masterful distortions” to create the effect he wanted. In the fourth chapter, Kleiner discusses Dante’s use of scientific material, such as his precise description of the duration of a lunar eclipse that no one on earth would have been able to gauge and his design of an impossible experiment concerning reflected light. The final chapter associates Dante’s interest in Geryon, the monster who appears in Canto 16 of the Inferno, with the medieval fascination with the grotesque. Moreover, the Ovidian allusions in this canto, Kleiner believes, make the encounter with Geryon a meditation on poetry and show “fiction’s proximity to fraud, its perilous attractiveness, and its susceptibility to perversion” (p. 132). Thus the Geryon episode represents Dante’s concern with the dangers inherent in reading, dangers depicted earlier in the Inferno in, for example, the Francesca and Paolo episode of Canto V, in which the lovers had been seduced into committing adultery after reading the story of Lancelot and Guinevere. In such episodes, Dante reminds us of the power a writer has over his readers and of his duty not to use that power irresponsibly.Because of the post-Renaissance emphasis on the importance of unity in a work of art and the later emphasis on realism, earlier critics naturally emphasized the unity and consistency of Dante’s work. A great work, they assumed, had to have these qualities. As Kleiner’s book reminds us, however, earlier writers did not always prize them as highly as modern critics do, and some inconsistencies and errors (some deliberate, some not) seem to have been acceptable. Inaccurate citations of classical works are due in part to the fact that medieval writers often knew earlier works only from commonplace books and in part to... (shrink)

The Awakening of Osiris and the Transit of the Solar Barques: Royal Apotheosis in a Most Concise Book of the Underworld and Sky. By Joshua Aaron Roberson. Orbis Biblicus et Orientalis, vol. 262. Fribourg: Academic Press, 2013. Pp. xi + 175, illus. FS 57.

More than a century after the first appearance of Norden’s classic commentary on Aeneid VI in 1903 the time has come to see to what extent the new discoveries of Orphic materials and new insights in the ways Virgil worked enrich and/or correct our understanding of that text. We will therefore take a fresh look at Virgil’s underworld, but limit our comments to those passages where perhaps something new can be contributed. This means that we will especially concentrate on (...) the Orphic, the Eleusinian, and the, if usually neglected, Hellenistic-Jewish backgrounds of Aeneas’s descent. Yet a Roman poet hardly could totally avoid his own Roman tradition or the contemporary world, and, in a few instances, we will comment on these aspects as well. As Norden observed, Virgil had divided his picture of the underworld into six parts, and we will follow these in our argument.Plus d’un siècle après la publication, en 1903, du commentaire classique de Norden sur le livre six de l’Énéide, il est temps de considérer à quel point les nouvelles découvertes de matériel orphique et les nouvelles idées sur la manière de travailler de Virgile enrichissent et/ou corrigent la compréhension de ce texte. Il s’agit dès lors de porter un regard neuf sur l’au-delà de Virgile, mais en limitant nos commentaires aux passages sur lesquels il est possible d’apporter quelque chose de nouveau. Ce sont les éléments orphiques et éleusiniens, tout autant que l’arrière-plan hellénistique juif – souvent négligé – sur lesquels l’analyse se concentre. En outre, un poète romain pouvait difficilement négliger totalement sa propre tradition romaine ou le monde contemporain, et, à quelques reprises, ces aspects seront également commentés. Comme Norden l’a observé, Virgile a réparti l’image de l’au-delà en six parties, et c’est son parcours que notre analyse épouse. (shrink)

In our time, for some reason, it is commonly believed that the Ukrainian language does not use the word "ad" for the reason that it, firstly, is probably Russian and in the Ukrainian vocabulary it has never been, and secondly, on the basis that exists his match is -please. In other words, the position advocated, according to which in the Ukrainian language the Greek word-guade stands out exclusively the word -plex. However, observing the etymology of the Ukrainian word - hell, (...) we note that it is not always possible to speak in its content. (shrink)

From Buñuel and Dali’s Un Chien Andalou to recent works by Danish filmmaker Nicolas Winding Refn, the cinematic destruction of the eye has become iconic due to its striking effect upon film spectators’ visceral experiences as well as its ability to influence their symbolic or fetishistic desires. By exploiting the natural discomfort and disgust produced by these types of images and then situating them within an aesthetic and psychoanalytic framework, Refn and other filmmakers provide a visual showcase for a unique (...) type of cinematic violence, one which demands that viewers reappraise the value of their own eyes as well as the values which reflect social attitudes towards law enforcement, crime, and justice. (shrink)

Name der Zeitschrift: Der Islam Jahrgang: 94 Heft: 2 Seiten: 596-601.

Few details in Virgil's description of the underworld have elicited more comment than his treatment of the sinners Ixion and Pirithous quid memorem Lapithas, Ixiona Pirithoumque? quos super atra silex iam iam lapsura cadentique imminet adsimilis; lucent genialibus altis aurea fulcra toris; epulaeque ante ora paratae regifico luxu; Furiarum maxima iuxta accubat et manibus prohibet contingere mensas exsurgitque facem attollens atque intonat ore.

IN C.Q. N.S. xiii , 1578ff., M. L. West discusses various non-Greek traditions which throw light on the interpretation of Pherecydes. Of course problems remain, but one of these the comparative material may yet solve. Is West correct in suggesting that we emend the Suda entry on Pherecydesand so reduce the seven recesses to five ? A convincing analogy can help us here. G. S. Kirk has already compared the seven gates which Ishtar has to penetrate when she descends into (...) the underworld. Despite all his reluctance to admit oriental influence on Pherecydes, he sees this as a possible source. (shrink)

During the necromantic ceremony inOdyssey11 Odysseus slits the throats of two sheep and then proceeds to drain their blood into the βόθρος, or pit, which he has dug in the ground (Od. 11.35–6). At this point in the ceremony the dead swarm up from the Underworld, displaying an innate attraction to the blood (Od. 11.36–7). Such is the overwhelming response of the dead that Odysseus must draw his sword in order to hold back the multitudes who clamour to drink (...) the offering (Od. 11.48–50). Odysseus refuses to allow the dead to approach the blood until Tiresias has drunk the offering and offered a prophecy for the future (Od. 11.95–6). After Tiresias has concluded his prophecy for Odysseus some of the other dead step forward and drink the blood, but to what end? Odysseus does not seek prophecies from these figures, nor do they produce any, which means that their reason for desiring and drinking the blood must lie elsewhere. (shrink)

‘Flash houses’, a distinctive type of public house associated with criminal activity, are a shadowy and little-studied aspect of early 19th-century London. This article situates flash houses within a wide perspective, arguing that the discourses on flash houses were part of concerns about the threat of the urban environment to the moral character of its inhabitants. The article draws on an original synthesis of a range of sources that refer to flash houses, including contemporary literature, newspapers, court documents, and government (...) papers. It demonstrates that flash houses were part of both popular intrigue about the perceived ‘criminal underworld’ and official concerns about the collusion between police officers and suspected offenders, since police officers allegedly frequented flash houses to gather criminal information. A detailed examination of this term reveals anxieties about the state of the metropolis, poverty, and criminality that were central to the early 19th-century consciousness. However, the discussion of flash houses in this context also demonstrates a powerful connection in contemporary minds between the physical spaces of the city and the risks that they posed to inhabitants' morals. While associations between the physical environment and morality have been drawn throughout history, flash houses represent a paradigmatic moment in this dialogue. This is because different moral concerns coalesced around the discourse on flash houses: anxieties about the criminal underworld, the potential for moral degradation of young people who frequented these spaces, and the corruption of police officers through contact with known or suspected offenders. (shrink)

Aeneas' encounter with Deiphobus forms a critical juncture in Vergil's "Aeneid". In the underworld Aeneas retraces his past to its beginning; so too Vergil's audience returns to its starting point: the fall of Troy. Deiphobus himself is a metonym of Troy, embodying her guilt and punishment. But Aeneas is frustrated in his attempt to reconcile himself to this past. Aeneas attempts the Homeric rites of remembrance-heroic tumulus and epic fama-but these prove to be empty gestures. The aition of Deiphobus' (...) tomb is revealed to have miscarried. Rhoeteum was known as the tomb and shrine of Telamonian Ajax, not Deiphobus, and Octavian's recent restoration of the Rhoetean memorial would have strengthened the already close association between Rhoeteum and Ajax in the mind of Vergil's audience. Vergil exploits Rhoeteum's resonance with Telamonian Ajax and Odysseus, Antony and Octavian, to reflect on the process of constructing national memory, a process of which epic is an integral part. Vergil suggests that one hero's memorial frequently involves the appropriation and effacement of another. In a similar vein, the heroic fama of Deiphobus which Aeneas had heard in Troy is proven false. Deiphobus' narrative of his death is replete with Odyssean allusions which critique both Homeric heroism and Homeric kleos. Evocative allusions to Catullus' laments for his brother suggest eternal elegiac mourning as an alternate generic model for memorial and reconciliation with the past. But Aeneas is denied this option. At the center of the epic, at high noon, on a cosmic crossroads, Aeneas is poised between past and future, between mourning and hope, between Deiphobus and Deiphobe, between epic and elegiac. The Sibyl interrupts and moves Aeneas forward. Aeneas is not purged of his past, but rather denied the opportunity for true reconciliation, which is bestowed not by forgetting but by remembrance. (shrink)

primo pallentis hiatuhaeret adhuc Orci, licet has exaudiat herbas,ad manes uentura semel.Erichtho the Thessalian witch is conducting a necromancy: she has selected a corpse, applied her potions to it and invoked the powers of the Underworld to release its soul to deliver the prophecy. She specifies that this is a recent corpse whose soul has hardly entered the Underworld; hence she describes it as ‘still hesitating at the entrance to pallid Orcus’ chasm’ and as “a soul which will (...) join the dead only once’. However, as Francken says, ‘“exaudire herbas” est absurda iunctura’. The problem lies in either noun or verb. The phrase must refer to Erichtho's magic; the choice is between spells and potion, herbas in the sense ‘Incantation’ is apparently unparalleled, but herbas as a reference to Erichtho's brew is perfectly acceptable, especially given the long description of her concoction of the revivifying potion and of her application of it to the corpse in the preceding lines, 6.667–84. Moreover, only a few lines later Lucan draws a contrast between uerba and herbae, spells and potion. If herbas is sound, suspicion falls on exaudiat; the occurrence less than ten lines earlier of the uncontroversial exaudite preces, 6.706, which suggests scribal repetition, strengthens the suspicion. (shrink)

Greek Heroes in and out of Hades is a study on heroism and mortality from Homer to Plato. Through systematic readings of a wide range of ancient Greek texts, Stamatia Dova offers innovative hermeneutic approaches to heroic character and a comprehensive overview of the theme of descent to the underworld in the Iliad and the Odyssey, Bacchylides 5, Plato's Symposium, and Euripides' Alcestis.

In Book 6.88–94 of the Aeneid reference is made by the Cumaean Sibyl to the fact that there will be terrible wars on the Trojans' arrival at Lavinium. The details given by the Sibyl evoke the war at Troy; there will be a Simois, a Xanthus, and a Greek camp. Moreover, there will be another Achilles in Latium and the war will again be fought over a woman. Aeneas, when he hears this, has just arrived in Italy after the war (...) at Troy and a gruelling seven-year journey. The prophecy is therefore the last thing that he wants to hear, but he responds very stoically and then proceeds to ask the Sibyl's permission to enter the Underworld . Aeneas' filial pietas is therefore stressed by his determination to meet with his father's shade in the face of forthcoming adversity. (shrink)