Wonder can be found in human creativity as well as in nature. While one version of belief in inspiration precludes human creativity, another presupposes it. Margaret Boden, however, suggests that creativity is continuous with generic human powers, and arises through breaking recognised rules. Problems are raised for this latter view. It needs to be added that creativity commonly involves participation in a tradition of skill or craftsmanship, and in a creative community. Further, the continuity approach is argued to be consistent (...) with a version of the inspiration approach, according to which the Creator can communicate through minds reflective of his/her creative imagination, as suggested by Austin Farrer. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)

In a recent article Margalit Finkelberg raises the question of whether or not the phrase κλοσ π;θιτον at Iliad 9.413 is indeed a Homeric formula: λετο μν μοι νóατοσ, τρ κλοσ π;θιτον σται Her purpose is to ‘test the antiquity of κλοσ π;θιτον on the internal grounds of Homeric diction’ .1 Proposing to use specifically the analytic techniques of oral theory, she argues that this phrase does not represent a survival from an Indo-European heroic poetry, as has been suggested from (...) the occurrence of its exact cognate, śápos;rdvas áksitam, in Vedic poetry. To this end Finkelberg presents a precise and carefully organized argument. I briefly summarize its two branches as follows: It is the formulae that comprise the oldest stratum of Homeric diction, and so it is here that one would find survivals of Indo-European poetic diction. κλοσ π;θιτον σται , however, cannot be judged a Homeric formula by the criterion of repetition since it is a unique phrase in Homer. Nor can it be judged a formula by the ‘functional’ criterion since the better attested κλοσ οὒ ποτ óλεται expresses the same essential idea in the same metrical shape. A unique phrase such as that in question might nonetheless be ancient. The development of the use of π;θιτοσ, first to modify concrete nouns, and only later with abstracts, however, would indicate that its use with κλοσ is late. The demonstration that κλοσ θιτον σται is a ‘formulaic expression’, moreover, argues that it was coined for this specific context in Iliad 9 by analogy with other Homeric formulae, and so does not preserve an Indo-European formula. (shrink)

When Andromache emerges from the inner chamber in Book 22, ascends the walls of Troy and looks out over the plain, she beholds a spectacle of ruthless brutality. She who has not been aware of the final combat, nor of the slaying of her husband, is suddenly confronted by the receding trail of utter defeat. Swift horses drag her husband's corpse into the distance, the cherished head disfigured as it is dragged, raking the dust of what was once their homeland. (...) The violence of the scene is forcefully conveyed by one word in particular. The swift horses drag Hektor κηδστως —without κδος without care, ‘sans soucier de, brutalement’. In itself the word κηδστως provides a definition of violence, one captured in Shakespeare's phrase ‘careless force’. Violence is, in its harsh brutality, specifically heedlessness, an absence of any form of care. When Achilles hurls the slain suppliant Lykaon into the river he utters the taunt, ‘the fish, κηδες, will lick clean your wound's blood’ . The discarded corpse is denied funeral rites: in place of the care that the relations of the dead traditionally bestow in tending, washing, enshrouding, lamenting, and burying the dead, here the heedless creatures of nature, fleeting visitors, will attend to the corpse, ‘clean’ it, but utterly without care, completely oblivious to the oblivion they create by destroying. In Book 24 Achilles will describe the gods themselves as κηδες. (shrink)

Against any obscurantist stand, denying the interest of natural sciences for the comprehension of human meaning and language, but also against any reductionist hypothesis, frustrating the specificity of the semiotic point of view on nature, the paper argues that the deepest dynamic at the basis of meaning consists in its being a mechanism of ‘potentiality navigation’ within a universe generally characterized by motility. On the one hand, such a hypothesis widens the sphere of meaning to all beings somehow endowed with (...) the capacity of moving and/or perceiving movement. On the other hand, through a new evolutionist interpretation of the concept of generativity, such a hypothesis preserves the peculiarity of human meaning, meant as essentially founded on a certain intuition of infinity. Two corollaries stem from this hypothesis: first, religiosity can be considered as a matrix of grammars of infinity, aiming at regimenting its flight of potentialities. Second, non-genetic transmission of cultural information exerts determinant influence also at the level of that very deep mechanism of the human predicament that is the cognitive navigation of motor potentialities. A re-reading of the structuralist epistemology, scientific literature on the nervous cells of jellyfish, and some recent experiments on the mirror neurons of dancers, as well as certain intuitions of Teilhard de Chardin, are the main arguments of the paper. (shrink)

In Historied Thought, Constructed World, Joseph Margolis identifies the philosophical themes that will dominate philosophical discussions in the twenty-first century, given the recognition of the historicity of philosophical thought in the twentieth century. In what follows I examine these themes, especially cognitive intransparency, and the arguments presented in favor of them, noting the extent to which they rest on a view of language that takes a written text, and not speech, as the paradigm of language. I suggest if one takes (...) speech as a mutual embodied action in a shared space as a model for language, the theme of cognitive intransparency—and the problems it brings in its wake—does not loom so large for those of us working in the history of philosophy. I conclude by showing that if we adopt this suggestion in relation to early Greek philosophy, that is, the period in the history of historied thought in which philosophy itself emerges as a linguistic and intellectual activity, we can better understand how and why philosophy emerged as it did—in the form of dialogues by Plato. (shrink)

The Homeric Hymns are commonly taken to be religious poems in some general sense but they are often said to contrast with cult hymns in that the latter have a definite ritual function, whereas "literary" hymns do not. This paper argues that despite the difficulty in establishing a precise occasion of performance for the Homeric Hymns, we are nevertheless in a position to identify their ritual function: by intoning a Hymn of this kind, the singer achieves the presence of a (...) god before participants in a public festival. The key mechanism by which the hymnist does this is the evocation of a god via the elaboration of a typical unit of traditional hymnic discourse, what I call the "theme of recognition ." The pragmatic operation of narrative such as this is similar to the device known in the study of magical texts as the historiola, or short narrative that serves as a verbal model for a desired outcome in the patient's world. This kind of operation is called, in this paper, "symbolic action," a term borrowed from the rhetorician Kenneth Burke. The theme of recognition is traced in the fabric of the expansive Hymns , and the paper further argues that an important generic marker in the Hymns, the greeting of the god , discloses their pragmatic function, the hymnist's skillful deliverance of the god before his hearers. (shrink)

This paper investigates the origins of the Oral Theory as formulated by Milman Parry in Paris during the late 1920s by reexamining the scholarship on which it rests. Parry's Oral Theory compared the texts of oral performances in Yugoslavia with the Homeric texts in order to shed light on the presumed oral origins of the latter. His work integrated the work of the linguist and Indo-Europeanist Antoine Meillet, the linguist and scholar of oral poetics Matthias Murko, and the anthropologists Lucien (...) Lévy-Bruhl and Marcel Jousse. (shrink)