The article seeks to show that, contrary to the standard view, the 'Choice of Heracles' preserved at Xen. Mem. 2.1.21-33 is not a summary or paraphrase, but is a very close approximation to the actual wording of Prodicus' epideixis. The language and style are shown to be uncharacteristic of Xenophon, and the fact that Prodicus' original was known to exist in both written and orally performed versions serves to explain why the piece is framed by language that disclaims strict accuracy (...) in reproducing it. It is further shown that the way in which near-synonyms are used in the piece is not necessarily inconsistent with other evidence for Prodicus' practice: it is rather the personified character Vice whose usage conflicts with that of Prodicus himself and with that of the personification of Virtue. Finally, it is proposed that the 'Choice of Heracles' represented the contents, not of Prodicus' advanced teaching, but of the popular, cut-rate lecture intended for a general audience. (shrink)

Traditionally, kairos has been seen as a “timely” concept, and so invention is said to emerge fromthe timeliness of a cultural and historical situation. But what if invention was thought of as thepotential to shift historical courses through the injection of something new or alien into a situation?This essay argues that kairos has not been able to free itself from its historical constraints becauseit has been bound to a human sense of temporality. By evolving along patterns different from print,the apparatus (...) of the cinema developed in a way where it was not bound to illustrating movement ortimeas it occurs in human-centered experience. Following the work of Gilles Deleuze on cinema,this article argues that the outside of a human sense of time is an untapped source of invention,already present yet dormant within kairos. (shrink)