In Nascimento (2015) I criticized the thesis defended in Irwin (1983) according to which two of the most famous characters in Euripides’ plays, Phaedra and Medea, could be said to exemplify akratic behavior and, in the case of Phaedra, even to explain it. In that article, I’ve pointed out several weakness in these thesis in order to justify my disagreement. I also suggested that, although there was no reason why we should stop looking for examples and explanations of akratic behavior (...) in Euripides’ plays, that should not be the only kind of irrational behavior we ought to be interested in finding there. In this paper, I argue that Medea actually instantiates a form of irrational behavior that is different from akratic behavior. The argument that follows is divided in four parts. After a brief introduction (section I), I clarify what sort of irrationality I believe to be instantiated by Medea’s behavior using Michael Bratman’s theory of plan stability (section II). Then, I analyze Euripides’ text in order to show why I think we should say that Medea does display that kind of irrationality (section III). The paper concludes with a brief summary of the argument (section IV). (shrink)

O principal objetivo deste artigo é criticar a leitura de duas peças de Eurípides, Hipólito e Medéia, que nos é oferecida por Terence Irwin, no artigo intitulado “Euripides and Socrates”, de 1983. No final, aponto para a necessidade de um estudo cuidadoso das diferentes formas de irracionalidade encenadas na obra de Eurípides.

Ausgehend von den vv. 218ff. der Iphigenie bei den Taurern zeigt der Beitrag, wie in dem Drama die tragische Dimension des menschlichen Daseins als eine unwirtliche zu Tage tritt. Diese offenbart eine wirtliche Ökonomie, die diesem Dasein ein Fundament geben kann, das nicht zunächst nach dem ausgerichtet ist, was recht und billig erscheint, sondern, allem voran, im sinnstiftenden Reichtum eines tragischen Schicksals wurzelt, das dem Menschen sein Eigenes und Freies zu gewähren vermag.

The method of dissoi logoi in Pre-Platonic testimonies The paper analyzes some references to the method of "dissoi logoi" (which is called by Plato "antilogic") in Pre-Platonic testimonies such as Aristophanes’ The Clouds, fragments of Euripides' Antiope and The Phoenicians, and the anonymous work called "Dialexeis" (Dissoi logoi). The analysis of these Pre-platonic sources results in the following conclusions: (1) The method of dissoi logoi was the universal strategy adopted by the sophists to argue on both sides - for and (...) against any thesis. (2) The Sophists are pointed out by all the testimonies as those who invented this method. (3) the same as it is in Plato's dialogues the criticism of the method in these Pre-platonic sources is based on the conviction that the method can be used immorally. (shrink)

There seems to be confusion and disagreement among scholars about the meaning of interpersonal forgiveness. In this essay we shall venture to clarify the meaning of forgiveness by examining various literary works. In particular, we shall discuss instances of forgiveness from Homer’s The Iliad, Euripides’ Hippolytus, and Aristotle’s Nicomachean Ethics and we shall focus on the changes that the concept of forgiveness has gone through throughout the centuries, in the hope of being able to understand, and therefore, of being able (...) to use more accurately, contemporary notions of forgiveness. We shall also explore the relationship between forgiveness and concepts that are closely associated with it, such as anger/resentment, hurt, clemency, desert/merit, excuse, etc. (shrink)

Having elsewhere connected Walter Otto’s interpretation of Dionysus as a politically progressive deity to Huey P. Newton’s vision for the Black Panthers, I here expand this inquiry to a line of Otto-inspired scholarship. First, Alain Daniélou identifies Dionysus and Shiva as the dancing god of a democratic/decolonizing cult oppressed by tyrannical patriarchies. Arthur Evans sharpens this critique of sexism and heteronormativity, concluding that, as Dionysus’s chorus is to Greek tragedy, so Socrates’s circle is to Western philosophy. I thus call for (...) the creation of a hybrid Dionysian-Socratic revolutionary philosophical chorus, modeled on Dionysus Lyseus, wielding philosophical analysis to loosen injustice’s bonds, as a vanguard of social justice. I find a handbook for this chorus’s creation in Euripides’s Bacchae, whose Dionysus is an ally of immigrant women, overthrower of Theban patriarchy, and international revolutionary. Finally, I offer a contemporary example of such a chorus that is based in my hometown in Alabama, namely, the Birmingham Philosophy Guild. (shrink)

Partiendo de Homero, se emprende una lectura de ciertas tragedias de Sófocles y de Eurípides. Alcestis muere por la belleza; Medea se queda en el aire; la casa se ha corrompido y la pólis ha caído enferma. Para implantar el nuevo proyecto político y apostar con determinación por la igualdad ciudadana, la pólis debía contener el llanto y reprimir las lágrimas por los parientes muertos, lo cual exigía contener y reprimir a las mujeres. Este ensayo intenta comprender en qué sentido (...) la ruptura que define ese proyecto esboza caminos que la pólis misma no está dispuesta a seguir: la erosión de la confianza, la pérdida de la comunidad o la separación de lo ‘económico’; tal como le recuerdan justamente las mujeres. (shrink)

Plato’s “Apology of Socrates” is a masterpiece of the philosophical literature. The question remains as to how much it has been influenced by earlier works, e.g. of Gorgias of Leontinoi and Euripides. Nevertheless, comparative studies on Hippolytus’ defense in Euripides’ tragedy of the same name, on Gorgias’ “Defense of Palamedes” and on Plato’s “Apology” do not exist. The short paper gives an introduction into the status quaestionis.

Metrisch gebundene Texte sind aus dem altsprachlichen Unterricht nicht wegzudenken: Vergil, Ovid, Horaz, Catull und Martial sind nur einige typische Autoren für die Dichtungslektüre im Lateinunterricht; Homer, Sophokles und Euripides sind typische Beispiele für den Griechischunterricht. Die Curricula schlagen eine Vielzahl poetischer Texte als mögliche Lektüren vor. Allein diese unvollständige Autorenauswahl zeigt schon, dass man allein mit der Behandlung von daktylischem Hexameter und elegischem Distichon nicht besonders weit kommt, will man nicht die Textauswahl nach solchen rein formalen Kriterien unnötig und (...) unzulässig einschränken oder bei allen anderen Metra so tun, als läse man Prosa. Denn ein solches Vorgehen ermöglicht zwar eine Übersetzung, ein wirkliches Verständnis der Texte bleibt den Schülern aber verwehrt, da ihnen die Wirkung des Metrums, der Einschnitte, der Betonung bestimmter Positionen im Vers und nicht zuletzt ästhetische Aspekte verborgen bleiben oder allenfalls indirekt durch den metrischen Vortrag des Lehrers oder eine stilistische Analyse erschlossen werden. -/- Der vorliegende Band widmet sich daher grundlegenden Fragen zum Thema lateinischer und griechischer Prosodie und Metrik im Unterricht unter Einbeziehung der Lehrpläne und einer Befragung von Lehrkräften. Daneben finden sich Praxisbeispiele zu Catull, Ovid, Terenz und Homer, Überlegungen zur Beziehung von Musik und Metrik sowie eine Anregung zum Dichten in lateinischer Sprache. -/- Mit Beiträgen von: Gregor Bitto, John Bulwer, Fabiola Dengler, Boris Dunsch, Magnus Frisch, Hans-Joachim Glücklich, Christoph Kugelmeier, Immanuel Musäus, Jens Pickenhan, Anna Elissa Radke, Wolfgang Schoedel, Katharina Waack-Erdmann und Heike Wolf. (shrink)

This essay offers an interpretation of Aristotle’s account of the birth of tragedy (Poetics 1448b18–1449a15) as a mimesis of poetic praxis. The workings of this passage emerge when read in connection with ring composition in Homeric speeches, and further unfold through a comparison with the Shield of Achilles and with an ode from Euripides’ Heracles. Aristotle appears to draw upon a traditional pattern enacting cyclical rebirth or revitalization. It is suggested that his puzzling insistence on “one complete action” in plot (...) is bound up with moment-to-moment performance. The poetics of Aristotle’s account suggest a pedagogy of mimesis. (shrink)