Some interpreters take the arguments at Cratylus 439D3–440C1 to argue for Forms. Some interpreters also believe that these arguments are elliptical or contain lacunae. I accept that the arguments are elliptical. However, I deny that they contain lacunae. I present the most natural construal of the text and argue that it neither trades on Forms nor postulates Forms. To make my case, I show that Cratylus 439D3–440C1 has a modest end, which is to refute a particular notion of flux.

Okeanos is at once a mythological figure and a philosophical concept appearing in many ancient accounts of the world. A frequent object of allegoresis, his cosmological role and his name posed an enigma to Homer’s readers, especially those with a rationalizing bent. This paper proposes that the paradoxical representation of Okeanos as a primordial generative power and a geographical limit may be explained by the influence of etymological speculation, which was a popular heuristic method used by Greek intellectuals from the (...) archaic period throughout antiquity. (shrink)

La exposición y crítica de las doctrinas antiguas tiene un lugar importante en los escritos de Aristóteles. Sin embargo, ciertas dudas se han vuelto corrientes acerca de la confiabilidad de sus descripciones. Más aún, se ha sostenido que Aristóteles deforma la comprensión histórica a través de la introducción de conceptos y términos propios. En este libro se aborda el problema a través de un análisis de las críticas que Aristóteles dirige a la teoría platónica de las Ideas, que permite explicar (...) la constitución y desarrollo de importantes conceptos aristotélicos a partir de la confrontación dialéctica con las doctrinas de su maestro. En efecto, las dificultades genuinas que Aristóteles descubre en el platonismo constituyen el motor para gestar nuevos conceptos, que no son ajenos, sino que surgen como implicaciones del examen crítico. Así, la imposición de términos propios no debe interpretarse como distorsión, sino como el modo que Aristóteles adopta para exhibir su particular solución a los problemas que los filósofos anteriores dejaron sin solución. (shrink)

Philoxenus of Cythera's dithyramb, Cyclops or Galatea, was a poem famous in antiquity as the source for the story of Polyphemus' love for the sea-nymph Galatea. The exact date of composition is uncertain, but the poem must pre-date 388 B.C., when it was parodied by Aristophanes in the parodos of Plutus , and probably, as we shall see below, post-dates 406, the point at which Dionysius I became tyrant of Syracuse . The Aristophanic parody of the work may well point (...) to a recent performance in Athens, perhaps the first, and it is hard to identify any more significant reason for mentioning the poem. Previous accounts of the poem have concentrated on two main points, its supposed satirical purpose, and the possibly dramatic nature of its performance, but there has been no attempt to consider these two points in relation to each other, or to assess in detail the value of the source-material. I argue that although there is some evidence to support the satirical reading of the poem, the main value of this tradition is that it reveals Philoxenus' comic treatment of his subject, and that while the Galatea motif has previously been considered the essential element in this comic treatment, it was probably a small part of the plot, perhaps only briefly alluded to. Finally I provide reasons for doubting the prevalent view that the performance included dramatic elements. (shrink)

‘Ein vÖllig unverständliches Wortspiel’, said Friedlander. There have been many attempts to solve the riddle. The older commentators, following Domizio Calderini, offered a fantastic solution: Athenagoras was a doctor specializing in leprosy : ‘porro ducta uxore coepit lingere cunnum…unde factus est olficius, hoc est olfacit cunnum’! H. C. Schnur emended to Olbius : Albius Athenagoras , by marrying a rich wife, became Olbius. This explanation deprives the name ‘Albius’ of any point; nor is it particularly witty to say that Albius (...) married money. The most popular solution points to the biblical γ εμι τ Ἄλφα κα τ 'Σ [sc. πρτος κα σ×ατος] it can be shown with some plausibility that the expression was known to the Romans of Martial's time – and to Martial's phrases ‘alpha paenulatorum’ and ‘beta togatorum’ . Before marriage Athenagoras was A in his house; now he is last, in other words, henpecked. ‘Paenulatorum’ and ‘togatorum’, however, give ‘alpha’ and ‘beta’ a context which plain Alphius and Olphius do not possess. Moreover, in all the other passages which scholars quote in support of the A–Σ hypothesis,9 a letter of the alphabet becomes a byname for an individual, and is not incorporated in another name, as would be the case with Alphius and Σlphius. The presence of two names points to an etymological, not alphabetical, jeu des mots. (shrink)

ναξ and βασιλες are the two most important titles applied to the top stratum of Homeric aristocracy., usually translated as ′lord′ or ′master′, and βασιλες, usually translated as ′king′, often apply to the same individuals, and can at times appear to be very close in meaning, allowing translators to render ναξ as ′king′ and βασιλες as ′lord′. There are, however, significant differences between the two. As Lexikon des friihgriechischen Epos now conveniently summarizes for us, avat; can be divine or human, (...) can be a master of a state, of gods, of men, of animals, or of his household, and can be used as an address in the vocative, whereas fiaoiXevs is only applied to humans in Homer, often in a political context, and is never used in the vocative. (shrink)

In Sophocles’ Ajax, a recurring conflict between two axiological systems gets thematized: the archaic, in which agonal values and personal excellence predominate, and the enlightened, which corresponds to the demands of already-developed cities and their values of equality and communal deliberation. This conflict is developed from a topic typical of the practical ideology of the time: the problem of measure and excess. The present work will account for the peculiar Sophoclean treatment of this problem through the analysis of the lexicon (...) in different passages of the work. As will be seen, characters as antagonistic as Ajax, Menelaus, and Agamemnon nonetheless concord in word choice when substantiating their decisions regarding how to act in situations of conflict. These words define common concepts typical of the archaic heroic code. On the contrary, other characters such as Tecmesa, the sailors’ choir, Odysseus himself, and Athena take different perspectives that are linked to enlightened demands._ _. (shrink)

En la historia de la filosofía, las referencias a la tragedia y los motivos trágicos configuran un ámbito de pensamiento. En la filosofía moderna, tras los estudios de Goethe, Schlegel, Schiller, Hegel, Hölderlin, Schopenhauer o Nietzsche, se instauró una “filosofía trágica”, y un “sentido trágico” como principio explicativo de la “trágica experiencia política moderna”. Inscrito en el registro de una filosofía de “lo trágico”, el presente texto propone un estudio genealógico de la relación entre tragedia y democracia griega, mediante el (...) examen de la categoría de stásis. (shrink)

Un esencial excursus acerca de las vicisitudes del personaje de Ifigenia en el mito es la premisa para el análisis dedicado por el autor a la presencia de lo divino –particularmente, a la intervención de Artemisa y a la influencia de las artes adivinatorias– en las Ifigenias de Eurípides. La clave de lectura sugerida por las dos tragedias ofrece un nuevo aporte a la controversial cuestión acerca de la relación entre el dramaturgo ateniense y la religión.

Le fragment 129 d'Empédocle fait état du savoir prodigieux et du pouvoir des prapides d'un Super-Sage du passé en qui les sources citatrices et les interprètes modernes reconnaissent trop facilement Pythagore de Samos. Le but de la présente étude est de reprendre à nouveaux frais l'examen de ces six vers afin d'ouvrir le débat autour de la sagesse et des pouvoirs attribués à la figure anonyme du Super-Sage. Interprétant « Empédocle à partir d'Empédocle », mais aussi à l'aide des références (...) culturelles majeures de son temps, on essaie d'examiner quel type de sagesse était attribué à cette figure par le poète philosophe, de quelles conditions, physiologiques ou autres, relève l'acquisition de cette dernière et en quoi consiste son caractère exceptionnel. Empedocle's fragment 129 praises the exceptional knowledge and the power of the prapides of a Super-Sage of the past. In this sage both ancient testimonies and modern interpreters all too easily recognize Pythagoras of Samos. The aim of the present paper is to re-examine these six verses in order to open up the discussion on the wisdom and powers attributed to this unnamed figure. Interpreting « Empedocles by Empedocles », and also taking into account the major cultural references of his time, we try to define what kind of wisdom was attributed to this distinguished sage, under which conditions, physiological or otherwise, he was able to acquire it, and what constitutes the exceptional character of his knowledge. (shrink)

The ancient Greek philosophical discourse harbors an anthropology radically discontinuous with the framework of modernity. Rather than emphasizing the tension between the individual and community, and far from understanding the political on the ground of instinctual sacrifice, Greek thought illuminates the interdependence of ethics and politics, and situates the human being in a cosmos in which the human is neither central nor prominent. In particular the reflection of philia, most notably in Plato and Aristotle, calls for the exploration of human (...) potentiality with outstanding vigor and visionary audacity. (shrink)

O presente estudo consiste em uma análise do processo de composição do Timeu-Crítias de Platão, sob o ponto de vista da modelagem do discurso. Pretende-se mostrar que o diálogo é marcado por uma engenhosa articulação de técnicas de composição, que combinam os aspectos pictorial e dramático da mímesis poética. Estabelecendo as Panateneias como referência implícita, a obra apresenta a performance de uma sequência de narrativas, produzidas como verdadeiras imagens discursivas. A originalidade platônica revela-se no Timeu-Crítias, portanto, no desempenho de uma (...) construção formal ao mesmo tempo dramática e imagética, mediante um singular agenciamento mimético de formas do discurso. (shrink)

The uneasy relation between violence and sanctity, between oppression and culture, underlies the dramatic action of Euripides' "Ion." Ion's monody ends with his threatening to shoot the birds who would soil the temple, or in other words, to protect purity through violence and death. The earlier part of his song also shows how the forces of exclusion and domination create sacredness. Ritual silence , restricted access to the aduton, ritual chastity, even the irreversible transformation of natural gardens into laurel brooms (...) and jugs of water all suggest how violence and domination create culture out of nature. The rape of Creusa epitomizes the relation between culture and violence. Her meeting with Ion reveals the psychological cost of social oppression and portrays the imperfect interdependence between moral feelings and legal institutions. Various dramatic devices portray the divisions in Creusa's mind that the injustice has created, devices including self-address, riddling speech, self-restraint, and silence. Her reluctance to pose her bold question to the oracle, and her displacement of the story onto the person of a raped "friend," show her resentful awareness that social institutions collaborate in the oppression. Ion's disillusionment echoes her resentment more theoretically. Together their comments show how moral rules and legal institutions, though fundamentally based on personal feelings such as shame and indignation, enact these feelings only imperfectly; the resulting dissonance in turn leads to further indignation and moral reflection. Finally, the allusions to fifth-century politics in Ion's speech on Athenian politics and elsewhere suggest that democracy itself depends on political domination and imperialism. (shrink)

Information and communication technologies are widely used in healthcare. However, there is not still a unified taxonomy for them. The lack of understanding of this phenomenon implies theoretical and ethical issues. This paper attempts to find out the basis for a classification, starting from a new perspective: the structural elements are obtained from the etymologies of the lexicon commonly used, that is words like telemedicine, telehealth, telecare and telecure. This will promote a better understanding of communication technologies; at the same (...) time, it will allow to draw some reflection about health, medicine and care, and their semantic and relational nature. (shrink)

Sophocles' Oedipus at Colonus has traditionally been regarded as the poet's primary tragedy involving hero cult; this essay explores the more subtle but no less ritually explicit hero cult of the Aias first outlined by Burian. The passage, as Burian saw, occurs when the young Eurysakes kneels at his father's body and Teukros conducts an unusual combination of rites: supplication, curse, offering of hair, and magic . One crucial direction to the child, kai phulasse , however, is here not understood (...) to be a paradox of the suppliant who "protects" what he seizes but rather his physical attachment to the locus where he abides as well as his ritual dependence on the source of protection . By saying a curse and obtaining protection, Teukros and Eurysakes indicate how the still-warm body of the dead hero has already acquired special powers after death: specifically, the power to bestow both blessings and curses on mortals. The argument turns from the body to the tomb, the physical and lasting monument of hero cult, which the Sophoclean audience would know. The preceding scene ends with a pivotal choral passage where the hero's burial and cult are prescribed in highly Homeric terms . This passage forms an important link between the opposing views of the fate of the corpse and also between the hero's death and burial. This choral celebration of the hero's future status is cast in traditional Homeric language, but with some revealing inversions. One is the reversal of the verb whereby the earth "holds" or possesses heroes in Homer, while Aias occupies and possesses his tomb . The evolution of Homeric views of death is traced . In Sophocles' Aias the chorus performs the burial as a ritual act establishing a cult, long before it happens at the end of the play. The article concludes with a discussion of the historical cults of Aias known to the Athenians and of the more significant way that Aias becomes a hero: not self-consciously, as Oedipus did, but through rituals performed by his family and community. In the Aias, the poet's sense of hero cult lies closer to Homer and the epic tradition than it does, for instance, to Aeschylus. (shrink)

At Argonautica 4.12–13, Medea, frightened and on the point of fleeing her home, 2 is compared to a young deer.

In Demosthenes’ speechOn the False Embassy(Oration 19), we read an obelized infinitive at §231, †εὐθενεῖσθαι†, ‘to be flourishing’, in an imaginary dialogue designed to captivate and persuade the judges through its striking antitheses and dramatic tone:— τί οὖν μετὰ ταῦτα.

In an interesting passage in the Philebus , Plato associates pure beauty with geometrical forms created by certain measuring tools used both by mathematicians and carpenters. The ‘beauty of figures’ is analysed as' something straight [εθ τι]… and round [περιφερς] and the two- and three-dimensional figures generated from these by [τρνοι] and ruler [κανσ7iota;] and set-squares [γωναι]' He continues: ‘For I maintain that these things are not beautiful in relation to something, as other things are, but they are always beautiful (...) by nature, by themselves…’. (shrink)

The Epicurean Colotes, in a work entitled Περὶ τοῦ ὅτι κατὰ τὰ τῶν ἄλλων φιλοσόφων οὐδὲ ζῆν ἔστιν, cited two fragments of Empedocles in order to prove that the poet denied that existence exists. Both are prominent in controversies about Empedocles’ physics and his usage of the term φύσις, but fr. 9 is very corrupt. To have any hope of restoring it, we will need to examine carefully Plutarch's explication de texte in his Adversus Colotem. Although there have been two (...) detailed treatments of this passage, neither has resolved the difficulties. (shrink)

This article aims to investigate the assumptions that lead to a conviction by moral philosophy of the various practices of deceit commonly involved under the name of hypocrisy. The argument is developed around three questions: first, on the assumptions under which the various practices and strategies of deceit – such as: simulation, dissimulation and irony – become a problem to moral philosophy. Secondly, in order to understand how the hypocrisy, originally assigned to the art of the actor, comes to be (...) part of the moral sphere designating, as art of deception, the set of those morally reprehensible strategies. Finally, how could be set a way opposed to this conviction. As I argue, that would happen with a double presumption: a distinction of perspectives between deceiving and being deceived– with their respective modes of evaluation – and through a re-evaluation of thought forms linked to astute intelligence that the Greeks called metis. Under these assumptions, hypocrisy could be linked to the ethical-poietical agenda of the creation of self. (shrink)