This essay analyzes the implications of the performative aspects of Julia Kristeva's Powers of Horror by situating this work in the context of similar aspects of her previous work. This construction and its relationship to abjection are integral components of Kristeva's notion of practice and as such are fundamental to her critique of Hegel and Freud.

In this paper I will investigate the identity of the daímōn introduced by Parmenides in B12, 3 DK, the deity “who steers all things”. The importance of this deity is not adequately reflected in ancient doxography but in recent decades many scholars have reconsidered its role. I argue that in Parmenides’ poem this daímōn may play a relevant role in connecting the theological, ontological and cosmological planes. My purpose is to provide enough arguments for the hypothesis that the daímōn may (...) be the same goddess, Themis, who in the proem (B1, 28) is paired with Dike as a guide for Parmenides to the theá who will reveal to him the truth of tò eón, and in the part of the poem called alḗtheia (B8, 32) is echoed as the divine personification of the thémis of tò eón itself. I will examine the different identities and attributes found in the accounts on Parmenides’ daímōn and will compare them with the identities and attributes that the mythological tradition assigns to the goddess Themis. (shrink)

The dóxa is a major aspect of Parmenides’ “scientific” commitment, as evidenced by studies of its discoveries in various fields of knowledge. Among them in astronomy. However, these studies have ended up identifying a scientific plan separate from the mythicalreligious and philosophical one of the first part. This survey explores the possibility of reconsidering the presence in the Parmenides’ dóxa of ontology and theology. It does so by proposing the hypothesis that the proem contains among the multiple semantic-linguistic layers the (...) mythopoeic presentation of the astronomical theorem of the identity of Eos and Hesperus, with the intent of showing, from the very beginning and in the most authoritative language for his audience, the alḗtheia of «being» on the divine stage of the celestial sphere. In our reading, therefore, the deities that enter the scene give life to a firmament that interconnects every cosmic dimension with each other and leads the one who knows (the εἰδότα φῶτα; B1, 3) – he knows that πᾶν πλέον ἐστὶν ὁμοῦ φάεος καὶ νυκτὸς because ἐπεὶ οὐδετέρωι μέτα μηδέν (B9, 3-4) – on the other side of the sky, in the presence of the theá that will reveal to him the meaning of everything. (shrink)