Κατ’ αυτόν τον τρόπο η έννοια της ‘αριστερής μελαγχολίας’ δεν συνδέεται τόσο με το φαντασιακό της ήττας, όσο με το φαντασιακό της προδοσίας που οδηγεί στην ομφαλοσκόπηση, την καχυποψία ή τον κριτικό αναστοχασμό. Ένα διττό φαντασιακό βίωμα προδοσίας εγκαταστάθηκε στα δύο γενικότερα ιστορικά ρεύματα της επαναστατικής παράδοσης – το σοσιαλιστικό-κρατικό και το αντιεξουσιαστικό-αντικρατικό – από τις πρώτες δεκαετίες, ένα αίσθημα εσωτερικής προδοσίας των αξιών και των ιδεών από συγκεκριμένες τακτικές και πρακτικές, αλλά και εξωτερικής προδοσίας από αντίπαλες, μα υποτίθεται όμορες, (...) συλλογικότητες. Το φαντασιακό της προδοσίας τρέφεται από το διάνοιγμα της εμμενούς απόστασης λόγου και πράξης, τις μικρές διαφορές τακτικής αλλά και τις μεγάλες αντιθέσεις επιδιώξεων, και σε στιγμές κατάρρευσης, εσωτερικεύεται από τα εκάστοτε υποκείμενα ως σχάση εαυτού. Η ‘αριστερή μελαγχολία’, ιδίως στην τέχνη και τη λογοτεχνία, είναι η αισθητική υποκειμενική εκδήλωση αυτής της ενδογενούς αντίφασης που προκύπτει από την απόπειρα να βιώσεις το μέλλον στο παρόν μετασχηματίζοντας ενεργά το βάρος του παρελθόντος σε ποίηση. (shrink)

In this article, I build on my recent conceptions of law as poetry and of justice as dance by articulating three new conceptions of the relationship between law and justice. In the first, “poetry-based justice”, justice consists of a rigid choreography to a kind of musical recitation of the law’s poetry. In the second, “dancing-based law”, justice consists of spontaneous, freely improvised movement patterns that the poetry of the law tries to capture in a kind of (...) musical notation. And in the third, “reciprocal-legal justice”, justice and law consist of a reciprocally determining artistic collaboration between the democratic dancing masses and the aristocratic poetising elites. Given that each of these predominates in one of three types of community, I then present a reclassification of right-leaning, centrist and leftist societies as dominated by “literalist”, “kinetic” and “mutualist” communities (respectively), and offer suggestions for legislators and activists working in each type. In conclusion, law and justice, qua poetry and dance, become more flexible, inclusive and open to creative improvising and collaboration, a new form that I name, after Astraea, Greek goddess of divine justice, “astral legal justice”. (shrink)

In the culture of ancient Greece, the term Paideia (Greek: παιδεία) referred to the upbringing and education of an ideal member of the polis. However, the period from Homer's epic poetry (9th or 8th century BCE) to the Peloponnesian War (5th century BCE) differs notably, concerning the forms of Hellenistic culture after the emergence of Christianity (especially from 2nd to 9th century AD). For that reason, it is necessary to consider what significance Paideia had in different historical periods (...) of Greek culture. In addition, the discussion of Paideia cannot exist in the abstract form of conceptual analysis without taking into account the real historical figures who contributed to the survival of Greek culture in the Roman and early Christian periods. This paper aims to examine the role of Greek culture in the social life of the early Christian Romans. We will try to achieve this through a detailed analysis of the panegyrics (Greek: πανήγυρις). Panegyrics are eulogies that educated pagan thinkers addressed to Roman emperors. Following the panegyrics, we will examine the influence of the Greek tradition on the distribution of the social roles in the upper classes in the Roman Empire. At the same time, by analyzing panegyric, the socio-cultural context of early Rome, and the demands that social betterment placed on pagan thinkers, we will introduce new elements of Christian Paideia concerning her classical predecessor, thus showing what such a transformation essentially entailed. (shrink)

A brief account of the first Russian translation of The Cantos of Ezra Pound is presented. The problems encountered during translation are considered, and the translator’s and editorial decisions are discussed. An overview of the references used during the work on the translation and commentaries is presented. The central problem of translating The Cantos is identified as a lack of poetic language and techniques in Russian literature that are comparable with those of Anglo-American modernism. The methods of creating the modernist (...) epic in Russian poetry are discussed and examples of similar attempts made by predecessors are mentioned. In particular, the translations made by N.I. Gnedich, M.L. Lozinsky, A.Ya. Sergeev, S.S. Khoruzhi and V.A. Hinkis, as well as translations of ancient Greek and Chinese literature are mentioned. Among all the various factors influencing the transition of the text from one literature to the other, authenticity, persuasiveness and laconism are stressed as the major reference points not only for translating the text, but also for commenting on the translation and writing the biographical notes. Every effort was made to ensure that the book would look and feel like an artifact of Pound’s lifetime. This is perfectly in line with the concept of Fortleben of the original text, as was suggested by Walter Benjamin. In this way, the translation is seen not only as an interpretation of the text, but as the renewal, survival and prolongation of the text’s life. (shrink)

The focus of this essay is on Xenophanes’ criticism of anthropomorphic representation of the gods, famously sounding like a declaration of war against a constituent part of the Greek religion, and adopting terms and a tone that are unequalled amongst “pre-Socratic” authors for their directness and explicitness. While the main features of Xenophanes’ polemic are well known thanks to some of the most studied fragments of the pre-Socratic tradition, a different line of enquiry from the usual one is attempted (...) by considering the multi-layered background of the religious beliefs revolving around the idea that the gods have human form as outlined in the tradition of epic poetry or represented in cult statues: in the light of this consideration Xenophanes’ text can take on some new characteristics. In the second part of the article, emphasis is put on the importance of the correlation Xenophanes established between the issue of the appearance of the gods and that of the certainty of knowledge, in terms that have exerted tremendous influence on later thought, most notably on Plato in the Timaeus. (shrink)

Philosophical reflection on the conditions of knowledge did not begin in a cultural vacuum. Several centuries before the Ionian thinkers began their investigations, the Homeric bards had identified various factors that militate against a secure grasp of the truth. In the words of the ‘second invocation of the Muses’ in Iliad II: “you, goddesses, are present and know all things, whereas we mortals hear only a rumor and know nothing.” Similarly Archilochus: “Of such a sort, Glaucus, son of Leptines, is (...) the mind of mortal man, whatever Zeus may bring him for the day, for he thinks such things as he meets with.” When one adds the truism that the scope of human experience pales in comparison with the synoptic view of events enjoyed by the gods, it follows that for most matters it is for the gods to know and mortals merely to conjecture. Traces of the older ‘poetic pessimism’ can be seen in the teachings of many of the first philosophers. Alcmaeon reaffirms that “while the gods enjoy clear and certain knowledge of all things, mortals must conjecture from signs” (B 1). Although Xenophanes encourages inquiry into a wide range of phenomena, he concludes that “No man has known nor will there be anyone who knows the clear and sure truth concerning the gods and what I say about all things” (B 34). And when philosophers begin to affirm a more optimistic view they often do so in terms that invite comparison with the older outlook. The chief truth Heraclitus claims to have discovered is the logos or ‘basic formula’ which holds everywhere and forever (B 1, 30, 80, and 90). Parmenides provides reason to think that human beings can discover the truth even about things located “far off” (B 4). And both Empedocles and Democritus contrast the inferior awareness of those “who think in terms of what they have met with” with the wisdom available to those who have heard and ponder their teachings (B 131). For these thinkers, separation in space and time—the old ‘locality problem’—no longer posed an impediment to knowledge. -/- . (shrink)

As with so many mystics, Alexis karpouzos intuitively know the oneness of cosmic creation and historic humanity as part of all that is and all there isn't. So, the originality of Alexis Karpouzos thought is that it crosses the most diverse fields, the most opposing philosophies, to unite them into an often contradictory and broken whole. Marx and Heidegger, Nietzsche, Freud and Heraclitus, poets and political theorists all come together in the same distance and the same unusual proximity. Alexis karpouzos (...) use Pre-Socratics philosophy and generally the ancient Greek philosophy, as well as the pre-philosophical thinking of The Upanishads, the Vedas and Buddhism in India, of Lao Tzu, of Zen Buddhism and the Taoist tradition in China, of the Arab mystics and poets, with their metaphysical religiosity as the metaphysical basis for the interpretation and understanding of the world and existence. At the same time the ancient metaphysics is connect with Hegel’s dialectical ontology and with the modern thinking of Marx, Nietzsche, Freud, Heidegger, and others as the interpretive context for understanding the central problems of the technical and scientific world during his time. Novalis, Hölderlin, Rimbaud, Whitman, Eliot and others show the dreamy nature of existence, the transcendence of the Cosmos, welcome the infinity. For Alexis karpouzos the combination of ancient and modern thought creates the holistic experience of universal space-time and the consciousness of the unity. The poetic thought of Alexis karpouzos is a expressions of soul's inner experiences, expression of universality. The inspiring visual images and the symbolic use of language offer a description of elevating experiences of consciousness, a glimpse of higher worlds. The philosophy of Alexis karpouzos speak to the human experience from a universal perspective, transcending all religions, cultural and national boundaries. Using vivid images and a direct language that speaks to the heart, his philosophy evokes a sense of deep communication with the collective unconscious, a sense of connection to all the creatures of the world, compassion for others, admiration for the beauty of nature, reverence for all life, and an abiding faith in the invisible touch of world. Alexis karpouzos thoughts are often terse and paradoxical, challenging us to to break out of the box of limiting beliefs and see things from a new perspective. Above all, Alexis karpouzos continually calls to us to wake up and explore the mysteries within our own selves, i.e the mysteries of universe. (shrink)

The Shadow of God in the Philosopher’s Garden. The Parc de La Villette in Paris in the context of the philosophy of chôra I Bernard Tschumi’s project of the Parc de La Villette could have won the competition and was implemented thanks to the political atmosphere that accompanied the victory of the left-wing candidate in the French presidential elections in 1981. François Mitterand’s revision of the political programme and the replacement of radical reforms with the construction of prestigious architectural objects (...) and urban assumptions in the French capital gave Tschumi a unique opportunity to realise ideas that polemicised with traditional forms of social life, questioned the basic principles of architecture and included architectural work in the philosophical disputes over the issues of metaphysics. Tschumi’s theoretical assumptions put forward during the design of the Parc de La Villette highlighted the questions of conflict between the main components of the project and suggested that the intensification of differences was analogous to Jacques Derrida’s creation of the concept of différance. It was this philosopher who in a special commentary to Derrida’s project also introduced the concept of maintenant, which aimed at demonstrating that the architect’s polemical inclinations remain in a hidden balance with his inclinations to affirmation of architectural principles. During the discussion between Derrida and Peter Eisenman, who was to take part in the design of the Parisian park, the concept of the chôra was also put forward, which in the course of the debate led to an additional confusion of architectural and philosophical problems. II In the period from the Antiquity to the Renaissance, the dialogue Timaeus was the most frequently commented work of Plato. At present, the most frequently discussed is the issue of the chôra included in it, which aroused fascination among philosophers, researchers of rhetoric, religion, feminism, but also architecture. The work on the chôra also influenced the development of the interpretation of the Parc de La Villette, among which the topics related to the beginning and the change were highlighted. In early uses of the word chôra in Greek, as in Homer’s 18th Book of Iliad, it meant both dancing and a place to dance. On this occasion, it can be seen that it is not possible to determine which phenomenon took precedence in the creation of the name. It cannot be denied, however, that the word concerned a specific movement, as if circular and returning to an indefinable beginning. Despite gaining more and more general meanings, the word chôra has retained its connection with the dance of people on the threshing floor, the dance of bees (choros meliton) or the dance of stars (choros astron). In Timaeus, the chôra is a space filled with movement with an effect similar to shaking the sieve to husk the grain: it separates similar elements from the dissimilar ones. The juxtaposition of the Parc de La Villette and the chôra already at this stage leads to the suggestion that the park was treated by the architect as a place of dynamic changes leading to the establishment of new social solutions. In his statements, the architect confirmed that the park was to be a space of new politics and ethics. The book by Julia Kristeva La Révolution du langage poétique contributed to the spread of the belief that works of art can play a role as factors of political revolution. In this work, the author put forward the thesis that the chôra is a kind of space, the character of which has a destructive influence on attempts to conclude language games. The chôra gives beginning to words, but at the same time, by leaving a trace of this beginning it forces us to renew their meanings. The chôra understood in this way, turns out to be an irremovable beginning, to which one has to return all the time. Kristeva found manifestations of the chôra’s activity in avant-garde French poetry, to which she attributed the role of a mediator between criticism of metaphysics and aspirations for social change. The chôra, violating the language, introduces some voids into it, as if traces of the abyss, which direct the consciousness towards understanding the necessity of political changes. The Parc de La Villette was to pursue similar objectives in the city space. In his essays, Tschumi considered the problems of creating spaces that would give rise to a radical democracy. The proposed rebellious spaces should have the characteristics of a void, in which contradictory forces would occur as forms of pure activity. The means of achieving this goal was to concentrate contradictions and make them visible. The Parc de La Villette was supposed to collect differences as indelible and at the same time by showing them it was supposed to raise awareness of the social world as a conglomerate of differences. Saturation of the space of the park with subversive values results from the character of this space suppressed in the consciousness, as well as from the social diversity which has not been taken into account so far. The main contradictions contained in space relate to the division that exists between its presentation as a mental problem and a sensual one. The park was the deliberate creation of a place that transcends such a division and creates a separate space for negotiation between architectural theories and its practical applications. The purpose of the park was to become a place of future events, which would not hide their conflicting character coming from diversity of both space and society. The method of composition usually aimed at achieving a harmonious whole has been replaced by Tschumi with a system of juxtaposition of non-coherent elements or those resulting from variations and transformations. Tschumi did not seek direct influence on politics in the Parc de La Villette, but made room for thinking about the possibilities of the future. He introduced problems rather than showed solutions to them. The task of the park was to put the principles of architecture into a kind of vibration that would inspire users to participate in the new community. III Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Albert Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Martin Heidegger’s latest work Contributions of Philosophy: Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in the philosophy of Immanuel Kant, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Georg Wilhelm Friedrich Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. IV In the texts that presented the theoretical assumptions of the Parc de La Villette, Tschumi used a large number of terms that contradicted not only the traditional principles of composing architecture, but also negated the rules of social order and the foundations of Western metaphysics. Tschumi’s statements, which are a continuation of his leftist political fascinations from the May 1968 revolution, as well as his interest in the philosophy of French poststructuralism and his collaboration with Derrida, prove that terms such as “disruption”, “dissociation”, “disfunction”, “disjunction” and “dispersion” not only referred to architectural problems but also applied to political criticism and the deepest foundations of thinking itself. His collaboration with Derrida manifested itself primarily in the publication La Case Vide: La Villette 1985, in which the architect’s design drawings and texts explaining his concepts related to the Parc de La Villette were accompanied by an extensive essay by Derrida, which included theoretical problems taken up by Tschumi in a philosophical context. Architectural and philosophical issues were also combined during seven discussion meetings organised by Eisenman, invited by Tschumi to collaborate on the design of the Parc de La Villette. Eisenman, who, like Tschumi, invited Derrida to participate in the design of the park and also led to the publication of Chora L Works: Jacques Derrida and Peter Eisenman, in which his ideas were confronted with Derrida’s philosophical text. In this case, Derrida’s essay was not a direct commentary on the architect’s concepts, but rather a reflection on the question of the chôra presented by Plato in Timaeus. During the discussion and in his essay, Derrida pointed out that the chôra is a component of the created world, yet it does not belong to it, but precedes it. The originality of the chôra is so radical that she also precedes all the factors of creating the world, including ideas and the Demiurge. Thus athesis appeared in the metaphysics of the West that the chôra is a form of active abyss, in relation to which all beings are secondary, both those perfect (as ideas or God) and those created, such as the world, things, people or language. This leads to the conclusion that the chôra does not exist, because all existence is a derivative of the chôra. Nor could the chôra be described, since it is a form of developing a space that is preceded by a lack of space characteristic of the chôra. Derrida intended the chôra to be an instance with an exceptional degree of transcendentalism, an anti-metaphysical instance, but also an a-theological one. However, this attempt failed, both in the field of secular philosophy and in the field of theology. Derrida’s characteristics of the chôra to strengthen its transcendentalism and negation of metaphysics had to be expressed in a language that immediately produces new concepts and a new metaphysics that reproduces the categories of the beginning, the origin or the foundation known from earlier philosophical traditions. All forms of criticism of metaphysics are also inspired by negative, apophatic and mystical theology. The undermining of many concepts of permanent meaning and the introduction of new concepts of unstable meaning, characteristic of the philosophy of deconstruction, had many features of originality, but it was directed towards problems whose solutions repeat, with the use of new vocabulary, the findings known in culture since Democritus. Thus, if apophatic philosophy can be regarded as deconstruction avant la lettre, then deconstruction itself in its late versions began to take on the features of a new religion. The exchange of inspiration between theology and deconstruction was manifested in a series of scientific conferences and publications in which Derrida’s philosophical concepts were interpreted within the scope of religious thought. Theological threads began to be found in such concepts of deconstruction as différance or the chôra, while at the same time Derrida himself undertook in his philosophy to study problems such as the Other (L’Autre) or the Impossible (Impossible), which belonged to newer theological traditions. As a consequence of the new problems, the deconstruction became closer to the features of a new religion. Philosophy, at least from Kant’s time, has tried to create a system that would take over from religion the tasks of setting moral and political goals. Similarly, Derrida has directed his interest towards the problems of democracy and ethics, which would enable their renewal. Attempts to create a new religion (cleared of old metaphors), a new community or a new democracy bring problems and threats which may be no less troublesome than the previous systems. All promises of freedom carry with them threats, the greater the more they strive for perfection. The renewal of existential orders, sometimes carried out by means of violent changes, is a certain repetitive feature of human cultures. Deep changes, however, do not protect against the return of both old gods and old demons. Tschumi and Derrida were shaped in their youth by the atmosphere of leftist rebellion against the moral and political limitations of ossified communities and the imperfections of democracy. The ethical theme distinguishes many of their works, including the Parc de La Villette. The opposition to the metaphysical traditions of philosophy and architecture contained in this park was prompted by specific political situations and resulted from bringing political issues to the level of philosophical considerations. Achievements made at the level of pure concepts were then subject to elevation, to a kind of sacralization, which made them religious concepts. The deconstruction reached for the status of the new religion especially when it found its followers and began to generate moral obligations. In the new situation, terms such as the chôra, l’Autre or the Impossible were absolutized and in relation to them a cult and attitude of adoration emerged. The Parc de La Villtette then gained new post-secular meanings, which allow it to be assigned the function of a Temple of Otherness (L’Autre) and Impossible. V In the traditional sense, a work of art creates an illustration of the outside world, or of a certain text or doctrine. Sometimes it is considered that such an illustration is not literal, but is an interpretation of what is visible, or an interpretation of a certain literary or ideological message. It can also be assumed that a work of art creates its own visual world, a separate story or a separate philosophical statement. Parc de La Villette represents the last of these possibilities: it is a philosophical statement that develops the premises derived from poststructuralist philosophies and the philosophy of deconstruction. The uniqueness of its being status, however, is that it does so not only at the level of the theoretical assumptions, but also through its functioning as an active philosophical work. This means that a park is a happening philosophy. Its activity, however, does not refer only to the present tense, but is also an attempt to penetrate the future, all otherness and impossibility. This kind of activity assumes that the work, in a sense, does not yet fully exist, but is also still produced in the processes of its interpretation. The theoretical foundations of the park included texts by Tschumi, in which he questioned traditional ways of creating a work of architecture, postulating in return the use of a long series of negations, which were comparable to the crisis of metaphysics characteristic of contemporary philosophy. It is therefore no coincidence that the publication containing Tschumi’s theoretical text on Parc de La Villette was accompanied by an essay by Derrida developing some of the architect’s concepts. The next step in integrating philosophy into the process of park design was a series of discussions between Eisenman and Derrida, who completely moved the creation of the park into the world of thoughts, without accentuating the need for their realization in the material reality. The main topic of these discussions was the problem of the chôra, which was taken up by later commentators and used to interpret the park as a work in which the philosophy of the beginning is manifested relating to issues of politics, morality and religion. The park was therefore interpreted as a space of invention within the scope of creating new rules of functioning of the community and democracy. Thinking about the political future may, however, exceed the horizon of ordinary expectations. Although philosophical thought is always connected with contemporary problems and metaphysics sometimes intertwines with current politics, yet at the same time the customs of philosophy also include crossing horizons and thinking about absolute otherness and impossibility. Initially, the chôra, différance, absolute otherness (tout autre) and the Impossible were concepts of pure philosophy of atheistic character, but with the further development of the discussion, more and more theological motifs began to emerge. One of the reasons for this phenomenon was the fact that radical negations of all being, which were contemplated in contemporary philosophy (by Heidegger and Derrida, among others), had previously been manifested in negative and apophatic theologies (by Master Eckhart, among others).Also the category of the “Other”, taken from Emmanuel Levinas, was clearly connected with the thought about God. A further reason for connecting the chôra with the theological thought was the interest in the philosophy of deconstruction expressed by some theologians. John Caputo in particular managed to persuade Derrida to participate in discussions on the current status of religion. In the late period of Derrida’s writing, further statements on religious topics appeared. All these reasons led to posing a question about the identity of the chôra and God. Although there were no satisfactory conclusions on this issue, the discussion was also important to create an interpretation of the park as a place of worship. The chôra, representing, according to Plato, the preoriginal emptiness is the place of every beginning, but it turns out that it is not neutral to the being created in it. The chôra deposits itself in every being as an irremovable beginning that interferes with its stability. The chôra, therefore, forces us into a palintropical movement, but it also turns out to be a pure compulsion, an erring necessity and a fundamental force from which, in the human perception, motifs useful to the individual and to the community are extracted. All definitions of this force, including its anthropomorphisation, are formulated in such a way that they allow for building private and collective morality upon them. Such definitions are changed depending on variable political situations. It is difficult to determine whether in the processes of changes in the formulation of “God’s names” any essential value is retained, which is not subject to change. The current definitions of the chôra (God?), which can be found, for example, in the philosophy of Caputo, stress that she is a combination of various and contradictory forces. This characteristic inherits much of Plato’s concept, reminds us of Master Eckhart’s views on Gottheit and, at the same time, is not unfamiliar to Tschumi, whose essays were an apologia of contradictions. The current concept of chôra, transferred into the sphere of politics, is the praise of social diversity and the protection of the difference from the forces of order. In the Parc de La Villette, the future community and democracy were elevated as a system of safe existence of individuals in all their singularity. The park is a temple of a future community in which individual beings have nothing in common. (shrink)

This brief, reflective research looks analytically at the impact of Greek philosophy on Christianity from three perspectives. They are: 1) the challenge that it presented to Christianity, 2) the signs of syncretism, and 3) Christian differentiation despite assimilation of aspects of Greek philosophy. Though not exhaustive because of its brevity, the study may help with discussions on the backgrounds of Christianity, and also stimulate an interest in the religion, politics, and history of the Levant in the first century.

Consonant with the ongoing “aesthetic turn” in legal scholarship, this article pursues a new conception of law as poetry. Gestures in this law-as-poetry direction appear in all three main schools in the philosophy of law’s history, as follows. First, natural law sees law as divinely-inspired prophetic poetry. Second, positive law sees the law as a creative human positing (from poetry’s poesis). And third, critical legal theory sees these posited laws as calcified prose prisons, vulnerable to poetic (...) liberation. My first two sections interpret two texts at the intersections among these three theories, namely Percy Bysshe Shelley’s “A Defense of Poetry” and Alexis de Tocqueville’s Democracy in America. Shelley identifies a poetic rebirth in the ruins of natural law, suggesting a philosophy of law as “natural poesis.” And Tocqueville names several figurative aristocracies capable of redeploying aristocratic law against democratic despotism, suggesting a philosophy of law as “aristo-poetic counterforce.” Finally, I propose a new theory of law as poetry bridging these two theories, “natural aristo-poetic counterforce.”. (shrink)

Poems are treated by translators as hierarchical multilevel systems. Here we propose the notion of “multilevel poetry translation” to characterize such cases of poetry translation in terms of selection and rebuilding of a multilevel system of constraints across languages. Different levels of a poem correspond to different sets of components that asymmetrically constrain each other (e. g., grammar, lexicon, syntactic construction, prosody, rhythm, typography, etc.). This perspective allows a poem to be approached as a thinking-tool: an “experimental lab” (...) which submits language to unusual conditions and provides a scenario to observe the emergence of new patterns of semiotic behaviour as a result. We describe this operation as a problem-solving task, and exemplify with Augusto de Campos’ Portuguese translation of John Donne’s poem “The Expiration.”. (shrink)

The question of Modern Greek identity is certainly timely. The political events of the previous years have once more brought up such questions as: What does it actually mean to be a Greek today? What is Modern Greece, apart from and beyond the bulk of information that one would find in an encyclopaedia and the established stereotypes? This volume delves into the timely nature of these questions and provides answers not by referring to often-cited classical Antiquity, nor by (...) treating Greece as merely and exclusively a modern nation-state. Rather, it approaches the subject in a kaleidoscopic way, by tracing the line from the Byzantine Empire to Modern Greek culture, society, philosophy, literature and politics. In presenting the diverse and certainly non-dominant approaches of a multitude of Greek scholars, it provides new insights into a diachronic problem, and will encourage new arguments and counterarguments. Despite commonly held views among Greek intelligentsia or the worldwide community, Modern Greek identity remains an open question – and wound. (shrink)

I argue for a perfectionist reading of Mill’s account of the good life, by using the failures of development recorded in his Autobiography as a way to understand his official account of happiness in Utilitarianism. This work offers both a new perspective on Mill’s thought, and a distinctive account of the role of aesthetic and emotional capacities in the most choiceworthy human life. I consider the philosophical purposes of autobiography, Mill’s disagreements with Bentham, and the nature of competent judges and (...) the pleasure they take in higher culture. I conclude that Millian perfectionism is an attractive and underappreciated option for contemporary value theory. (shrink)

Ancient Greek comedy takes interesting approaches to mythological narrative. This article analyzes one excerpt and eight fragments of ancient Greek Old, Middle, and New Comedy. It attempts to show a comic rationalizing approach to mythology. Poets analyzed include Aristophanes, Cratinus, Anaxilas, Timocles, Antiphanes, Anaxandrides, Philemon, Athenion, and Comic Papyrus. Comparisons are made to known rationalizing approaches as found in the mythographers Palaephatus and Heraclitus the Paradoxographer. Ancient comedy tends to make jokes about the ludicrous aspects of myth. Early (...) Greek myth rationalization and mythography share a similar approach to comedy in that they attempt to rationalize the improbable parts of myth narrative. (shrink)

Drawing on Seamus Heaney and his symbolic reference to a great sea change or tidal wave in epic poem “The Cure at Troy” (1990) – much referred to in these gradually post-pandemic times and indicating that a new chapter is about to begin – and “The City” by Ted Hughes, where a life is read like a poem and in the many depths of the urban space the writer roams “my own darkness”, this paper looks at human resilience in the (...) face of an interrupted COVID reality that has brought a fundamental shift to the way we view the world and our role in society. In our era of a New Normal, the idea that “less is more” is quickly becoming a mantra for our times, a time characterised by a gradual distancing from material hype while we turn to nature for solace and guidance – as importantly advocated by Heaney and Hughes who illuminate our path as we gain a greater understanding of what really matters at the core. We likewise begin to see commonalities between people and cultures, and we open up a space for a greater sense of authenticity. As we are now stepping into the initial stages of 2023, entering a new chapter; have we gained existential insights from the COVID-19 pandemic and will this lead to new beginnings where the written word helps us along the way? (shrink)

A report on the pioneering of a new pedagogy designed to challenge students to use and improve their memory, increase their awareness of logical fallacies and tacitly embedded contradiction(s) and sensitize them to the deeply symbolic nature of thought in all its expressions (math, logos, music, picture and motor skills), as created, by the author, from in situ research at a senior level (ESL) course in Storytelling at Hankuk University of Foreign Studies, South Korea’s premier university for foreign languages and (...) translation.in. (shrink)

This short article pairs the realms of “Mathematics”, “Philosophy”, and “Poetry”, presenting some corners of intersection of this type of scientocreativity. Poetry have long been following mathematical patterns expressed by stern formal restrictions, as the strong metrical structure of ancient Greek heroic epic, or the consistent meter with standardized rhyme scheme and a “volta” of Italian sonnets. Poetry was always connected to Philosophy, and further on, notable mathematicians, like the inventor of quaternions, William Rowan Hamilton, or (...) Ion Barbu, the creator of the Barbilian spaces, have written appreciated poems. We will focus here on an avant-garde movement in literature, art, philosophy, and science, called Paradoxism, founded in Romania in 1980 by a mathematician, philosopher and poet, and on the laboured writing exercises of the Oulipo group, founded in Paris in 1960 by mathematicians and poets, both of them still in act. (shrink)

This dissertation addresses the ontological significance of poetry in the thought of Martin Heidegger. It gives an account of both his earlier and later thinking. The central argument of the dissertation is that poetry, as conceptualised by Heidegger, is beneficial and necessary for the living of an authentic life. The poetry of T. S Eliot features as a sustaining voice throughout the dissertation to validate Heidegger's ideas and also to demonstrate some interesting similarities in their ideas. Chapter (...) one demonstrates how effectively certain concepts from Heidegger's 'Being and Time' can be applied in an analysis of T.S. Eliots celebrated poem 'The Love Song of J. Alfred Prufrock'. The reading involves concepts such as angst, authenticity, inauthenticity, the they and idle talk as they appear in 'Being and Time' and then relates these to aspects of T.S Eliot's poem. Chapter two is an exegesis of Heideggers essay 'The Origin of the Work of Art' in order to understand the meaning of poetry as he describes it. The essay centres on the interpretation of a painting by Vincent van Gogh, and what the experience of the painting reveals to someone authentically engaging with the artwork. Heidegger attempts to establish what the essence of a thing is (the artwork as thing), for the 'origin' of the artwork resides in its 'thingliness'. He creates an important distinction between equipment and the artwork, as well as earth and the world in order to justify the unique, originary position that the artwork occupies. This leads Heidegger to create a new understanding of poetry (which is expanded to encompass all art forms) and to emphasise the importance of the human agent in both the creation and preservation of the artwork. Chapter three is an exploration of language in both the Heidegger of 'Being and Time' and the later Heidegger's thought. The aim is to explore the ontological effect that Heidegger's conception of language has for our existence. He places language within a primordial role arguing that it is not us who speak language, but language that speaks us. This conception has important consequences for our relationship with Being, and the way in which we understand our existence. The final chapter unifies the various themes of the dissertation into a cohesive argument. The chapter begins with a discussion on the meaning of our existence following the later Heidegger. This is nothing less than the guardianship of Being which can only be understood in its relation to our dwelling within the fourfold. In conclusion it is through the measure of the language of poetry that we can realise the possibility of authentic dwelling. (shrink)

A new computational methodology for executing calculations with infinite and infinitesimal quantities is described in this paper. It is based on the principle ‘The part is less than the whole’ introduced by Ancient Greeks and applied to all numbers (finite, infinite, and infinitesimal) and to all sets and processes (finite and infinite). It is shown that it becomes possible to write down finite, infinite, and infinitesimal numbers by a finite number of symbols as particular cases of a unique framework. The (...) new methodology has allowed us to introduce the Infinity Computer working with such numbers (its simulator has already been realized). Examples dealing with divergent series, infinite sets, and limits are given. (shrink)

The linguistic foundations of science and technology include many terms that have been borrowed from ancient languages. In the case of terms with origins in the Greek language, the modern meaning can often differ significantly from the original one. Here we use the PubMed database to demonstrate the prevalence of words of Greek origin in the language of modern science, and call for scientists to exercise care when coining new terms.

The style, tone and tenor of the New Testament writers are unique and exceptional. Jesus of Nazareth, Hebraic roots, Old Testament literature, oral tradition, Hellenistic influence, Roman governance, 1st century socio-politics, and multifarious linguistic elements combined to immortalize their literary records and make them indelible in the minds of contemplative readers. This book acknowledges previous work and seeks to connect the thoughts gleaned from them to seminal ideas that have their locus in the inquiry of how language can influence thought (...) and vice-versa. The information has been sourced from the fields of religion, biblical studies, linguistics, English literature, grammar learning, geo-politics, philology, psychology, philosophy, and artificial intelligence as they have to do with thought, language, and society. The carefully quoted and paraphrased opinions of writers from the related disciplines since the fourth century BCE are presented here. However, the volume reflects the very marked influence of 20th century thinkers who have had the benefit of perusing the work of their predecessors and 21st century pioneers who have at their disposal ultra-modern technology, computing power, and easy access to a global community to which the ideas may be applied for comparative analysis. (shrink)

For the sake of a respiratory philosophy, it makes sense to look to the East, since many Eastern traditions such as Sufism include breathwork in their somatic practices. In my paper, I aim to show how Rumi – a 13th century Muslim theologian and Sufi – used breath or nafas in his Persian poetry to outline how breathing is an originary phenomenon. My paper will take a few samples of his poetry to demonstrate how breath connotes a newness (...) through the “gift” of life that it endows upon us, and how the creative, endowing, and primal nature of breath is linked to an openness to the Divine Other and to others. Furthermore, for Rumi, every passing breath ushers in a new existence, annihilating its older form and thus creating an ontological sense in the reader of both the finiteness of existence through what has passed and the infinite possibilities it holds when the newness arrives. Bridging the finite and infinite through breath enables us to develop a respiratory ontology that aims to conceive of dualities through an interrelated perspective. This, I wish to argue, is the true promise of Rumi’s poetry for a philosophy of breathing. (shrink)

A new method of adult and children mental development is investigated – the trilogy of mind, which basic operation is the logic operation of comparison. This method was created considering Aristotle's understanding of philosophy as “the science about the first reasons and origins” of cognition, the beginning of presocratic cognition of the surrounding world. This new method is an effective mean of mental thinking development that is oriented at the understanding of natural and social processes with the help of general (...) scientific comparative notions – kinds of opposition, worked out in ancient times. (shrink)

Classically, most philosophers asked philosophical questions without answering them. In this book, the author follows Bertrand Russel’s approach in his book The Problems of Philosophy , by offering possible answers to philosophical questions. The book consists eight chapters that aim to offer answers to eight questions, namely: Sources of Islamic Civilization, Achievements of Muslim Philosophers, Falsification of the Sudden Light, Aristotle’s Categories, Zaki Nageeb’s Criticism of Greek Philosophy, The Natural Terms, Comparative Study between Avicenna and Al-Ghazzali, Despotism in Theology (...) and Philosophy, and a Modern Vision of Athens Democracy. The book represents a new experience that provides insights and discussions to answer some philosophical questions that used as topics for discussions among researchers in the philosophical and cultural circles. (shrink)

This article aims to explore, through the civil society’s opinion, the polarisation between ‘winners’ and ‘losers’ and the group of the ‘new excluded’, or ‘new poor’, that has emerged as a result of the European economic crisis and the social transformations that followed in the Greek society. Based on the Theory of Justice introduced by John Rawls (1971), and using the approach of Critical Discourse Analysis, this study focuses on the discourse analysis of the perception of 97 representatives of (...) local and national NGOs, both formal and informal. The main results focus on different self and others’ presentations, especially during the economic crisis, and on the creation of an unbalanced, fragmented and exclusion-cantered society. However, the definition of rich and poor appears ambiguous through the analysis of various linguistic strategies of Greek NGOs revealing a hidden face of the society. (shrink)

For the NT writer, transcription was the process of recording the Christological/theological events of their time to papyrus or vellum. The effort here is to help the reader to understand that from the spoken word to papyrus/vellum was not dictation or a simple copy process but rather a very arduous procedure that was subject to practices of oral expression and limited by the orthography of the target or writing language. Writers were not simply copying but they were re-interpreting oral traditions (...) for the purpose of making a literary recording. (shrink)

This article presents a newly discovered votive inscription found during the course of the 2013 survey conducted at the ancient city of Phaselis and in its territory. The inscription was found where the stairs to the acropolis from the southwest of the theatre end, in front of the west wall of the tower structure give access to the acropolis. This inscription in the Doric dialect, on a limestone block measuring 0.315 x 0.77 x 0.61 m., records a dedication to Athena (...) Polias. The letters 0.03 m. high, exhibit Late Archaic - Early Classical Period features ( - - - - ) and, consequently the inscription can be dated to the Vth century B.C. -/- Phaselis and its Chief Goddess Athena Polias From the earliest times of Athena worship, especially in the Aegean Islands and Hellas, this goddess was the protectress of cities, institutions and mythological heroes and she manifested this function in various ways. In one of the earliest recorded examples she carries the epithet ἐρυσίπτολις (guardian of the cities), and in another example, in a Linear B inscription discovered in the Palace of Knossos on Crete as Atana Potnia (a-ta-na-po-ti-ni-ja), the mistress of the palace. But perhaps the most striking myth relating to this role of Athena is undoubtedly that of the Palladion statue, the reason for the fall of Troy and for defeat in the Trojan War. In this context, Troy could resist the Achaeans for as long as it was protected by the Palladion, but after it was stolen by Odysseus and Diomedes, the city was captured by the Achaeans. Subsequently, Athens, Argos and Sparta, the most powerful Greek cities, as later the city of Rome, in order to obtain Athena’s protection and so to gain legitimization for the expansion of their empires, invented their own myths claiming that the Palladion statue from Troy was brought to their cities. In another myth the Goddess became the protectress of Tegea through giving Medusa’s hair as a protective image to a hero of the city. Athena’s frequently used epithets, Polias (Πολιάς), Poliouchos (Πολιοῦχος), and the epithet the protectress of the Athenians (Ἀθηνᾶ Ἀθηνῶν μεδέουσα), employed as a means of religious propaganda by the city of Athens when it established the Delian League which subsequently evolved into an empire, clearly indicate Athena was regarded as guardian of the cities. Particularly during the Archaic and Classical Periods, it was this aspect of Athena that, politically placed the Goddess amongst the most important of deities with Zeus and Apollo, and she is most commonly found with the epithet Polias. The epithet Polias or similar, refers in particular to the heart of these cities, to their acropoleis, where Athena Polias was usually worshipped. Her temples located on the heights of the cities made her role particularly visible as the main protecting goddess. One of the best examples of this “visibility”concerns the earliest record of the epithet Polias as, although she wasn’t the chief deity of Argos, within the sanctuary of Athena Polias located on Larisa hill an inscription was found which supplies us with the text of a cult regulation which is datable to the VIth century. B.C.. The Anatolian goddess of Malija, equal to Athena (in Lycia), was attested in Hittite texts from IInd millennium B.C.. This goddess worshipped in Lycia, close to the city of Phaselis, is similarly in a relationship with cities and acropoleis. The Inscribed Pillar of Ksanthos dating from the Vth century B.C. records that many acropoleis were seized with the help of Athena ptoliporthos (πτολίπορθος) “Sacker of Cities”. In the same inscription the city of Patara was named together with Malija and it may refer to the Patara of Malija as in the example of the Lindian Athena (Lindos, city of Athena). Moreover, the goddess Malija was named with the epithet Wedrẽñni (regional, municipal) the equivalent of the epithet Polias in Rhodiapolis. During the great colonization movements (750-550 B.C.) the colonists brought the cult of Athena Polias to many Mediterranean cities, as was the case for example for Lindos on the island of Rhodos. As a matter of fact the strongest ties between Lindos and the colonies which Rhodes founded was the cult of Athena. In consequence, these cities offered precious gifts to the Temple of Athena in Lindos as a demonstration of both their veneration of the goddess and of loyalty. According to myth, the city of Phaselis was colonized in 691/690 B.C. by a group under the leadership of Lakios from Lindos and the Athena cult of the mother city was brought to Phaselis. Thereafter the Phaselitai dedicated the helmets and sickles to Athena Lindia upon which was inscribed, “Having taken them from the Solymoi, the Phaselitai offered them to Athena Lindia, when Lakios was the leader of the colonists”. In addition to this, the other evidence concerning the presence of Athena in the city confirms that this deity was the chief goddess of Phaselis. During the Classical, and especially in the Hellenistic Period, depictions of Athena’s owl, of her Palladion and of Athena Promachos are found. As mentioned above, the epithet Polias usually draws attention to a city’s acropolis with the temple of Athena Polias located there. In the case of Phaselis, the find spot of these votive inscriptions, reused in a wall of a tower that was built in defense of the acropolis, provides an additional indication for the localization of Athena’s temple to the acropolis. This temple most probably was on the acropolis where there are the ruins of a columned building and large ashlar blocks possibly indicating the site of a temple; however, due to the dense vegetation and in the absence of excavations, at present this localisation cannot be stated with certainty. Another reference indicating that Athena Polias was the chief deity of the city was the presence of a holy relic in the Temple of Athena, the spear of the hero of the Trojan War Achilles. During his campaign against the Persians, Alexander the Great stayed in Phaselis in the winter of 334/333 B.C. and he left Achilles’ spear in the Temple of Athena at Phaselis. During the Hellenistic Period, Hellenistic Kings were mentioned with the chief deities of the Archaic and Classical periods as were the emperors in Roman Imperial Period. And according with this practice, the boule and demos of Phaselis worshipped Athena Polias together with the deified emperors, known from an honorific inscription for a certain Ptolemaios. Evidence from the Late Roman Period, especially from the IIIrd century A.D., records the Palladeios agons (ἀγὼν Παλλάδειος) were held in the city in honour of the Goddess Athena. Consequently, philological, epigraphic as well as numismatic evidence shows the Goddess Athena was the chief deity of the city of Phaselis from the Archaic Period into the Late Roman Period. As the epithet Polias on this votive inscription indicates, the goddess had a temple which should be located on the acropolis where the holy relic (Achilles’ spear) was kept and where the officials of the goddess conducted their functions. This new votive inscription provides record of the role Athena occupied in this early post-colonisation period of the city’s political and socio-cultural history. Further, it is also a physical document dating from the city’s Late Archaic-Early Classical Period, aiding in the evaluation of both Phaselis and of the wider region’s history of settlement. (shrink)

In this chapter, I approach the subject of peace by way of Andrew Fiala’s pioneering, synthetic work on “practical pacifism.” One of Fiala’s articles on the subject of peace is entitled “Radical Forgiveness and Human Justice”—and if one were to replace “Radical Forgiveness” with “Peace,” this would be a fair title for my chapter. In fact, Fiala himself explicitly makes a connection in the article between radical forgiveness and peace. Also in support of my project, Fiala’s article names four of (...) the six historical figures who are central to my chapter, namely Marcus Aurelius, King, Arendt, and Nietzsche. Moreover, Fiala also insists there “forgiveness must be held in creative tension with justice,” and it is this very tension that forms the basis of my new conception of socially-just peace. To wit, I propose that socially-just peace is lovingly generous reimagining (peace) through intuitively self-overcoming tension (social justice). (shrink)

The chapter revisits the relationship between restorative justice and punishment through the eyes of Classical Greek philosophy and tragedy, the School of Collectivists, and contemporary thinkers. The extant literature sees restorative justice either as alternative punishment or an alternative to punishment. This chapter puts forward the notion of restorative punishment by deconstructing the concept of pain, and by reconstructing a new vision through the notion of catharsis. The chapter then takes a bold step in proposing a philosophical framework to (...) justify the normative thinking underpinning its proposed concept of restorative punishment and pain. (shrink)

Different philosophers from ancient Greek philosophers to contemporary thinkers tried to present unique views on consciousness. But what consciousness actually is remains unknown. Scientists today study neural firing patterns, neurotransmitters, fMRI scans map neural constellations and brain circuits. Yet, the bridge between neurons and the fragrance of rain or the taste of chocolate remains elusive. How does a network of cells conjure the magic of qualia? This makes the hard problem of consciousness. In this situation, emergent illusionism proposes a (...) new paradigm for the hard problem of Consciousness. (shrink)

The reception of the translations of Aristotelian and pseudo-Aristotelian works at the University of Paris in the thirteenth century promoted a new understanding of the sciences as specialized fields of knowledge. The huge amount of translations required a new organization of knowledge, which included novel subjects and categories. Among these there is a very special case, namely the pseudo-Aristotelian De plantis, translated from Arabic into Latin and then back into Greek to be re-translated into Latin again. De plantis was (...) included in the new curriculum in Ripoll 109, and constituted the main source for botanical studies until the sixteenth century. Throughout this paper we will explore the reception and impact of De plantis in both the Arabic and the Latin traditions. We aim to show its foundational role in the development of botany as a theoretical discipline within the natural sciences. (shrink)

From the 1920’s onwards in Yozgat and its vicinity in the interior of Asia Minor field surveys and excavations have been increasingly undertaken. One recent project is an archaeological survey of the whole province of Yozgat which began in 2017 with the participation of many academics from different universities and disciplines. Through this survey, which covers a large area, research in just a few regions has been completed. In this article, seventeen Christian epitaphs discovered at and around the village of (...) Güneşli (east of Tavium), Aydıncık, Basilika Therma (Sarıkaya) and Çayıralan, mostly dating from the Vth–VIth centuries A.D. are presented. Three of them are fragmentary and a few are badly damaged. A carved bilingual Latin/Greek inscription records the «running» metaphor frequently employed by the Apostle Paul, all the other inscriptions introduced are Greek. There are interesting differences and analogies for the motifs on these gravestones and for the formulas employed in the epitaphs within the surrounding region. ****** Yozgat İlinden Yeni Hıristiyan Mezar Yazıtları Yozgat ve çevresindeki arkeoloji yüzey araştırmaları ve kazılar çalışmaları 1920’li yıllardan itibaren artış göstererek devam etmektedir. Bu bağlamda son projelerden bir tanesi de farklı üniversitelerden ve disiplinlerden pek çok akademisyenin katılımıyla 2017 yılında başlatılan ve Yozgat ilinin tamamını kapsayan arkeolojik yüzey araştırmalarıdır. Tüm il sınırlarını kapsayan bu araştırmadaki sistematik çalışmalar bazı bölgelerde tamamlanmış durumdadır. Makalede ise Güneşli Köyü, Aydıncık, Sarıkaya ve Çayıralan’da bulunan ve çoğunluğu MS V.–VI. yüzyıllara tarihlenen Hıristiyan mezar yazıtları tanıtılmaktadır. Yazıtlarının bir kısmı sadece fragman halinde ele geçmişken, bazıları ise oldukça tahrip olmuş durumdadır. Bunlardan birisinin üzerine, Aziz Paulus’un sıkça dile getirdiği «koşmak» metaforu Latince ve Yunanca çift dilli olarak kazınmıştır. Diğer yazıtların tamamı Yunancadır. Söz konusu mezar taşları üzerindeki betimlemelerin ve mezar yazıtlarındaki formüllerin bölgeler arasındaki farklılıkları ise ilgi çekicidir. Anahtar Sözcükler: Yozgat, Tavium, Hıristiyan Mezar Yazıtı, Koşucu, Aziz Paulus, Bizans Epigrafisi. (shrink)

In Plato’s dialogues we often find Socrates talking at length about poetry. Sometimes he proposes censorship of certain works because what they say is false or harmful. Other times we find him interpreting the poets or rejecting potential interpretations of them. This raises the question of whether there is any consistent account to be given of Socrates’ practice as a literary critic. One might think that Plato himself in the Ion answers the question that I have raised. Rhapsody, at (...) least in the Ion , is portrayed as the activity of interpreting and evaluating the works of the poets. At first glance at least, Plato seems to conclude that this activity cannot meet the standards of a τέχνη. Rhapsodes are divine madmen. Thus, there cannot be a systematic Platonic account of literary criticism because this activity is inherently irrational and, subsequently, not something that one could engage in in a systematic way, guided by a theory of any sort. In the first part of the paper I argue that the Ion does not simply consign the Interpretation of poetry to the irrational and, as a result, does not pose an obstacle to the possibility of a Platonic literary criticism. In the second part of the paper I turn to the task of finding an account of the purpose of reading poetry and strategies for fulfilling this purpose that make systematic sense of Socrates’ multifarious remarks about poetry. (shrink)

The revolutionary outbreak in a variety of civilizations centered around 600 B.C.E., a period in which the great world religions as well as philosophy emerged, from Hebrew scriptures and the teachings of Buddha to the works of Greek and Chinese philosophers, has been named the Axial Age by Karl Jaspers. Yet 75 years earlier, in 1873, unknown to Jaspers and still unknown to the world, John Stuart Stuart-Glennie elaborated a fully developed and more nuanced theory of what he termed (...) The Moral Revolution to characterize the period. This book also brings to light the previously undiscussed ideas of D. H. Lawrence on the phenomenon from 20 years before Jaspers, the seldom mentioned contributions of Lewis Mumford, and proposes a new context for understanding the phenomenon. Halton rewrites the history of this fascinating theory and opens new ways of conceiving the meaning of The Moral Revolution for today. (shrink)

A significant strand of the ethical psychology, aesthetics and politics of Plato's Republic revolves around the concept of poikilia, ‘fascinating variety’. Plato uses the concept to caution against harmful appetitive pleasures purveyed by democracy and such artistic or cultural practices as mimetic poetry. His aim, this article shows, is to contest a prominent conceptual connection between poikilia and beauty (kallos, to kalon). Exploiting tensions in the archaic and classical Greek concept, Plato associates poikilia with dangerous pleasures to redirect (...) admiration toward a distinctly philosophical pursuit of the nature of beauty. This is to displace a prominent and problematic cultural sensibility—the aesthetics of poikilia—not to deny that fascinating variety, even in mimetic poetry, may be beautiful. Rather, Plato's cultural critique lays bare an epistemological problem in the ethical psychology of beauty: since they cannot be distinguished from what seems beautiful, how should one respond to fascinating yet dangerous attractions? (shrink)

“Christianity is a μίμησις of the divine nature.” This definition of what it means to be a Christian, given by St Gregory of Nyssa in his letter De pro- fessione Christiana, employs a term commonly translated as “imitation” or “representation.” Even a brief study of some of the seminal sources of classical Greek thought, however, will show that the concept of mimesis surpasses any of these translations and effortlessly crosses the boundaries of the sphere of aesthetics, towards the fundamental (...) questions of epistemology, metaphysics, ontology, and ethics. An analysis of Gregory’s letter, together with the related treatise De perfectione, will then show his nuanced familiarity with the subtleties of mimesis, which he consciously employs to arrive at his definition of Christianity. With this in hand, I will argue that even some of Gregory’s most perplexing scriptural exegesis in his homilies on the Song of Songs grows out of his coherent concept of mimesis, which ultimately is of fundamental importance to Gregory’s anthropology, cosmology, and Christology. (shrink)

Providing the most thorough coverage available in one volume, this comprehensive, broadly based collection offers a wide variety of selections in four major genres, and also includes a section on film. Each of the five sections contains a detailed critical introduction to each form, brief biographies of the authors, and a clear, concise editorial apparatus. Updated and revised throughout, the new Fourth Edition adds essays by Margaret Mead, Russell Baker, Joan Didion, Annie Dillard, and Alice Walker; fiction by Nathaniel Hawthorne, (...) Ursula K. LeGuin, Anton Chekov, James Joyce, Katherine Mansfield, F. Scott Fitzgerald, William Faulkner, Alice Walker, Louise Erdrich, Donald Barthelme, and James McPherson; poems by John Donne, Robert Browning, Walt Whitman, Edwin Arlington Robinson, e.e. cummings, Langston Hughes, W.H. Auden, Philip Levine, and Louise Gluck; and plays by August Wilson, Marsha Norman, Wendy Wasserstein, and Vaclav Havel. The chapter devoted to film examines the relation of film to literature and gives the complete screenplay for Citizen Kane plus close analysis of a scene from the film. With its innovative structure, comprehensive coverage, and insightful and stimulating presentation of all kinds of literature, this is an anthology readers will turn to again and again. (shrink)

Written in the fourth century BCE, Philebus is likely one of Plato’s last Socratic dialogues. It is also famously difficult to read and understand. A multilayered inquiry into the nature of life, Philebus has drawn renewed interest from scholars in recent years. Yet, until now, the only English-language commentary available has been a work published in 1897. This much-needed new commentary, designed especially for philosophers and advanced students of ancient Greek, draws on up-to-date scholarship to expand our understanding of (...) Plato’s complex work. In his in-depth introduction, George Rudebusch places the Philebus in historical, philosophical, and linguistic context. As he explains, the dialogue deals with the question of whether a good life consists of pleasure or knowing. Yet its exploration of this question is riddled with ambiguity. With the goal of facilitating comprehension, particularly for students of philosophy, Rudebusch divides his commentary into twenty discrete subarguments. Within this framework, he elucidates the significance—and possible interpretations—of each passage and dissects their philological details. In particular, he analyzes how Plato uses inference indicators (that is, the Greek words for “therefore” and “because”) to establish the structure of the arguments, markers difficult to present in translation. A detailed and thorough commentary, this volume is both easy to navigate and conducive to new interpretations of one of Plato’s most intriguing dialogues. (shrink)

The New Testament Writings and the Septuagint were possibly compiled in Hellenism’s greatest period of influence. It is reasonable to say that the writings were influenced by Hellenism because they were written in the language of Hellenism. This study examines how the hegemony of Hellenism, the worldviews of Hellenists, and the current of anti-Semitism impacted the New Testament Writers and influenced why they wrote how they wrote.

This book offers inter alia a systematic investigation of the actual argumentative strategy of Socratic conversation and explorations of Socratic and Platonic morality including an examination ofeudaimonia and the mental conception of health in the Republic as self-control, with a view to the relation of individual health/happiness to social order. The essays cover a period from 1968 to 2012. Some of them are now published for the first time. Self-motion in the later dialogues involves tripartition and tripartition in turn involves (...) embodiment. The Philebus psychology too anticipates Aristotle. The Forms of the Timaeus are patterns, but the two-world picture is abandoned: there is one world constituted by Forms and Place. The Epinomis is arguably genuine. More generally, denying that Plato develops, e.g. exegetically and psychologically, is absurd. There are too many contradictions in the Corpus. The dialogues are artistic wholes and the author's message must be interpreted accordingly: hence in a sense every character is Plato's mouthpiece. Aristotle's idea of the human good or quality of life as optimal mental activity according to the special human capabilities is the root of the modern selfactualization projects. Panaetius (free reason) and Posidonius (science) mark the end of the older Stoa's hard-core materialism and the beginning of a new more 'modern' era. -/- . (shrink)

How does philosophy learn to speak a new language? That is, how does some particular language come to serve as the means for the expression of philosophical ideas? In this paper, I present an answer grounded in four historical case studies and suggest that this answer has broad implications for contemporary philosophy. I begin with Jonathan Rée’s account of philosophical translation into English in the sixteenth century, and the debate between philosopher-translators who wanted to acquire – wholesale or with modifications (...) – foreign terms, and those who wished to take existing words and transform them from their ordinary to a philosophical use. I sketch how these twin processes of ‘acquisition’ and ‘transformation’ manifested themselves in philosophical translations from Greek to Latin, Greek to Arabic and both Greek and Arabic to Gə’əz and argue that comparative work in this vein could yield interesting and significant results. I suggest that not only is Rée’s approach useful for thinking about philosophical translation historically, but that philosophical translation between very different languages is important for contemporary philosophy insofar as it reveals the linguistic presuppositions of philosophical theories expressed in some particular language, and that this constitutes an argument against the prevailing monolingualism in philosophy. (shrink)

Concepts of “self” and “right” in three civilizations: primarily Confucian and ancient Greek, with references to Aristotle’s medieval Christian commentators; Uses the classical Greek and Chinese traditions’ common incompatibility with modern liberal notion of “right” to explore the commonalities between them, and on that basis endeavors to connect the East to the West with a “right” that could better harmonize the self with society, right with duty, and negative with positive freedom.

With the 21st century, we are witnessing the mass spread of the communication technologies and social media revolution. Interactive networks built on a global scale have led to the formation of a virtual world of reality that is connecting the whole world. With the global spread of communication networks, the question of whether social media points to a new public sphere has been raised. Social media applications such as Facebook, Twitter and Instagram are nowadays seen as a place where political (...) campaigns are carried out, causing the destruction of authoritarian regimes, organizing global protests and innovation culture, and discussing political, social and cultural changes. What gives social media a similar quality to the agora of Ancient Greek city-states is the characteristic of been a place where citizens come together and talk about issues that are considered to be public, eventhough in a virtual reality. This work, following the Arendtian sense, discusses whether social media really is a place where public issues are discussed, common ideas are produced and transparency prevails. In her work "The Human Condition", Arendt makes a fundamental distinction between private and public sphere based on human activities. By conceiving the activities that she describes as labour and work in relation to the private sphere, Arendt tackles the activity of action through linking it to public sphere. Arendt defines the public sphere as a sphere of freedom and a political sphere. The public sphere consists of equal people without hierarchy, who come together with their completely free will. According to Arendt, the condition for the public sphere to be possible is transparency and commonality. Firstly; it has a wide transparency in the sense that something have to be seen and heard by others, and the second is that it points to a common world that belongs to everyone, except for the part that is privately owned. Considering the public sphere in relation to the transparency not a direct transfer of things that happen in the private or intimate sphere. It is precisely related to the fact that something pertaining to the private exhibits a presence within the world of public and the fact that the private acquires a public chatacter. This does not mean that the public sphere is a sphere in which the private and intimate are directly transferred. According to Arendt, leading a private life as a whole will lead to the lack of what is necessary to be a true person. It also leads to the lack of a common world that unites and separates them. Arendt thinks that with the modern period, what belongs to the purely private and intimate sphere expands and causes the collapse of the public. The collapse of the public sphere in the modern period; It has caused both the loss of difference and interaction and the emergence of individuals who are increasingly alike, unable to think and act. In this kind of society, action has left its place to behavior, difference to standartization and thought to obedience. Arendt sees the public sphere as a sphere where public affairs are discussed, while the private sphere is a sphere where intimate and private activities take place. Arendt argues that with modern society the distinction between public and private has became indistinct , and as a third sphere, the social sphere has swallowed up both the public and the private. The social sphere has removed the distinction between the public transparency and commonality of the public and the privacy of the private sphere and activities. This study considers social media as a sphere where public issues are discussed. It also dıscusses the private sphere events and the most intimate issues. It claims that social media is not a new public sphere as it is cosidered, but it is a social sphere in which the distinction between private and public in the Arendtian sense is become indistinct. In this context, the study seeks to answer the following questions: How does the distinction between public and private spheres, which is central in Arendt's thought, look like in today’s world? Is it possible to talk about a public sphere in the modern age? Can social media be considered as a public sphere? Or is social media a sphere of freedom and a political sphere? Does social media allow discussions on public issues? Is social media a non-hierarchical nature open to the free participation of everyone, difference and plurality? (shrink)

[186 pages] Just as the six branches of a snow crystal converge in regular proportions toward their common center, the six contributions to this book point toward a future philosophy of cosmic life. In this sense, this edited volume represents a multidisciplinary and transcultural polylogue of distinguished authors from three continents, which aims to establish highly innovative perspectives and open new frontiers of developing philosophical reflections and scientific foundations for the emergence of a common cosmic consciousness, for an integral ecology, (...) and for a cooperative planetary civilization of humanity. John B. Cobb, Jr. uses a process-philosophical foundation to describe life as living events expressing novelty and the cosmos as a process of self-enriching and self-evolving “Life Itself.” Chandra Wickramasinghe unfolds his scientific and philosophical perspective on cosmic life in twelve successive steps, offering a wide range of arguments and insights that support an up-to-date theory of panspermia. Attila Grandpierre presents the "Cosmic Life Principle" and the comprehensive science based upon it that is inextricably linked to the healthy and cooperative civilization, to the biological laws of nature, to the laws of logic, to the uplifting of the well-being of people and ecological communities. Chunyou Yan introduces the approach of his holographic philosophy, according to which the universe must be understood as a vast living entity, every aspect of which represents life. Bei Peng shows that the proportions of energy meridians in traditional Chinese medicine correspond to musical intervals, and on this basis she demonstrates the analogy of the human body to macrocosmic phenomena. David Bartosch offers an examination of three important systematic foundations for a poly-contextural, transcultural philosophy of cosmic life with roots in Greek, Chinese, South and West Asian, and European traditions of thought. (shrink)

This submission constitutes six (core) pages in literary prose expounding the philosophy of Parmenides of Elea outside the reductionist framework based in formal logic that has become de rigeur in philosophy departments of the English language world — at least prior to Dr. Papa-Grimaldi’s research. To this end, my paper, in chronological order, by way of introduction simulates Plato’s Parmenides; in the main body reconstructs Taran’s argument in “Much Ado About ‘Nothing,’” in Apeiron, Vol. XXXV, No. 2, June 2002, pp. (...) 87-104; and in the final section which will be presented at the conference, breaks away into an original hermeneutics in dialogical format featuring Socrates as a guest dramatis personae charged with the task of reconstructing in a new key, on behalf of the author, Parmenides’s philosophy. (shrink)

This essay explores the works of German artist Gustav Metzger as a potential response to Theodor W. Adorno’s dictum “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch” (“To write poetry after Auschwitz is barbaric”). It argues that culture, as understood in the Adornian sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. (...) In spite of this, culture, and art in particular, must not refrain from the very act of writing. Metzger’s works are discussed as aesthetic responses to the “new categorical imperative” of Adorno, who addresses art’s failure in light of Auschwitz by pointing to aporias that constitute the inescapable condition of “barbarism.” This essay suggests that Metzger’s aesthetic articulations are nonbarbaric ruptures, in that they challenge our living on irresponsibly within the condition of barbarism via a constant confrontation with complicity. (shrink)

The author considers that the Penal Sciences face a wide range of human pathogenic issues, ranging from terrorism and human trafficking to corruption and the use of substances and are, thus, the ideal discipline for investigating the various scientific issues and the implementation of the scientific findings arising from such investigations. He also believes that the Penal Sciences, being inextricably linked to human values and constitutional rights, are, by their nature, beneficial towards the promotion and consolidation of values, such as (...) freedom, solidarity and, especially, Social Justice. The latter concept is perceived by the author not only as a form of justice, which provides everyone with their due of proportion to their value, according to the famous saying of Ulpian “suum cuique tribuere”, but rather as a form of restitution from social injustices and as a treatment for social needs, particularly for our fellow human beings who are marginalized by society in conditions of poverty and degradation. It is interesting, at this point, to emphasize that the United Nations, in an important report from 2006 entitled “Social Justice in an Open World. The Role of the United Nations”, defines Social Justice as the fair and compassionate distribution of the fruits of economic growth (“Social Justice in an Open World. The Role of the United Nations”, edited by the International Forum for Social Development, New York: United Nations, 2006, p. 7, available online). The vision, therefore, of a society focused on goals such as combating socio-economic disparities and providing effective assistance for the weaker members of society signifies, especially in this period of Crisis, is a primary objective worthy, according to the author, of captivating us. Perhaps, indeed, the new target for Criminal Policy, following that of Restorative Justice, should now be that of Social Justice and, in fact, with a double project and aim: first for a fairer distribution of social goods and, also, for greater solidarity towards the weaker members of society. Indeed, it is a known fact to those involved with the Penal Sciences, that a dominant contemporaneous trend is that of Restorative Justice, in the sense that Criminal Law and Criminology finally have to address the needs of the victim of a criminal act and to advocate for relevant methods for extrajudicial settlements and for the conciliation of the offender and the victim. Restorative Justice is, hence, based on the triptych of the perpetrator assuming responsibilities for their actions, of restoring, as far as possible, the effects of the injurious actions against the victim and, also, of actively expressing the desire for conciliation with the victim. Certainly it would be greatly desirable if these ideas were to be consolidated within Greek legislation, albeit within the, always progressive, Greek Law for Minors there is a provision for the reformatory conciliation measure, pursuant to article 122 case e of the Greek Penal Code. However, the author believes that in this period of time, a time of profound crisis at all levels, there is need for more than simple offender-victim conciliation. There is a need for this spirit of reconciliation and solidarity to be extended to benefit all those who are experiencing hard times and may, therefore, in their deprivation and frustration, are led to committing crime. The author, at this point, refers to all the socially weak and often marginalized groups of people, who are scientifically characterized as "weak" or "vulnerable" and who try, with great courage, to survive without breaching the threshold of breaking the law. It is apparent here, according to the author, that if Criminal Policy actually aims to provide solutions to the problems of crime, it should not solely be limited to repairing the damage and conciliating the victim and perpetrator, but it should strike against the causative factors of crime and the primarily socio-economic inequalities and other forms of injustice which cause, according to Aristotle in his "Politics" (V. 1301b27, 1301a32 et seq., 1266b40), social reactions, attitudes and – Ι would add - a sequence of serious criminal acts. In other words, another kind of Justice is required in addition to Restorative, so that it may become the mission of our Criminal Policy to eliminate the injustices and inequalities that lead to crime. In view of this direction certain introductory thoughts are developed in this article. (shrink)

Among the extant masterworks of Roman art, there is probably none that has generated more scholarly debate than the Portland Vase over the interpretation of its elegant frieze. No fewer than forty-four different theories attempting to interpret the scenes on the vase have appeared in the last 400 years. In the main, the theories fall into two categories, those relating the frieze to Greek myth, and those linking the figures to Roman personages. Moreover, there is no consensus whether the (...) frieze is two separate scenes or one continuous story. The obstacle to interpreting the frieze is that all but one of the figures lack identifying attributes. This paper will demonstrate (1) that in lieu of standard iconography, a synthesis of visual and literary tropes in the form of hidden letters, that is, cryptograms, tells the viewer how to read the frieze; (2) that scene A of the frieze illustrates specifically lines 26-30 of Catullus 64 by visually rendering the epithets and tropes used in those lines; (3) that visual reproductions of other tropes in Catullus 64 further substantiate the relationship between frieze and poem; (4) that scene B of the frieze is an intentional aberration from the poem; (5) that there is a complex and unfinished interaction between scenes A and B which the viewer must complete; and (6) that in the final analysis, the frieze duplicates both the theme and central structure of Catullus 64.10 . (shrink)