This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects not (...) only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe. (shrink)

This article treats the figure of the fox that appears as one of the members of the embassy sent by the animal s to Zeus in Callimachus' second ¡ambo By exploring previous appearances of the fox in the poetic repertoire, I identify a series of Archaic and early Classical works that Callimachus uses by way of 'intertexts', and argue that the Hellenistic author draws on the animal's place within the interconnected iambic and fable traditions that inform his poem. Already visible (...) in these earlier texts, and anticipating Callimachus, is a concern with literary as well as ethical polemics. (shrink)

Discussion of the closing lines of Pindar¿s seventh Nemean has concentrated almost exclusively on the lines¿ relevance to the larger question that hangs over the poem: does the ode serve as an apologia for the poet¿s uncomplimentary treatment of Neoptolemus in an earlier Paean, and is Pindar here most plainly gainsaying the vilification in which he supposedly previously engaged. The reading that I offer suggests that a very different concern frames the conclusion to the work. Rather than seeking to exculpate (...) himself, the poet announces instead that in the song that the audience has just heard, the composer has adhered to two prime virtues that the encomiastic genre should embrace: variatio and an ability to counter the language of blame. By reorienting the debate in this way, I aim to elucidate the striking metaphors and other rhetorical devices that fill the final lines, and most particularly to make sense of the canine imagery that seems so recurrent a motif. As my reading seeks to show, the dog is chosen as master trope both for his relation to the practice of invective and for his relevance to that stale act of repetition that the poet here rejects. By giving his audience a sample of the mode of speech that the calumnist practises, and that the praise poet may appropriate when combating the opposite genre, Pindar makes the merits of his own poetry shine the brighter, and invites the cognoscenti to appreciate his sophia. More broadly, the encomiastic singer¿s brief deployment of the weapons of the abuse poet allows us to understand something of the overlapping and symbiotic relations between the different genres in archaic Greek poetry. (shrink)

Unresolved questions surround Simonides fr. 531, which eulogizes the Greeks who fell at Thermopylae. To what genre do these lines belong, what were the original conditions of their performance, and does Diodorus Siculus, who preserves the fragment, transmit just an extract or the complete piece? Commentators even differ as to where Simonides’ lines began: for some the words τŵυ ༐υ Θερμοπλαιζ θαυóυτωυ form part of the original composition, for others they conclude Diodorus' prose introduction. In my reading of the fragment, (...) I aim to address some of these puzzles by focusing chiefly on issues that allow for greater certainty: the structure and sentiments of the lines, and the cohesion between the song's contents and the conventions found in near contemporary commemorations of men fallen in battle on their country or polis’ behalf. As the comparative material will suggest, Diodorus’ designation of the lines as an encomion, something ‘properly’ delivered in praise of living men, should perhaps not be dismissed out of hand. Simonides‘ words may have been embedded within a composition as much designed for the purpose of praising, exhorting and inspiring the living as for memorializing the dead. (shrink)

This article treats the verbal and physical altercation between the disguised Odysseus and the local beggar Iros at the start of Odyssey 18 and explores the overlapping ritual and generic aspects of the encounter so as to account for many of its otherwise puzzling features. Beginning with the detailed characterization of Iros at the book's start, I demonstrate how the poet assigns to the parasite properties and modes of behavior that have close analogues in later descriptions of pharmakoi and of (...) famine demons expelled from communities in rites that are documented from different parts of the Greek world from the archaic period on; so too the account of Iros' ejection from the house and of his subsequent fate conforms to the patterns observable in these rituals. The second part of the discussion examines the ways in which the beggars' quarrel anticipates the enmities that the Ionian iambographers would construct with those whom they cast as their echthroi and rivals, and suggests that we see in the Homeric scene an early instance of an iambic-style confrontation presented in poetic form for performance at the symposium. The iambographers' own deployment of the scapegoat and famine demon paradigms for the vilification of their targets promotes the overlap between the epic and iambic material. In both portions of the argument, the discussion observes how the several frames informing the episode in Book 18 coincide with and promote the Odyssey's larger themes. (shrink)

This article treats representations of victors in the Greek athletic games in the artistic and poetic media of the early classical age, and argues that fifth-century sculptors, painters and poets similarly constructed the athlete as an object designed to arouse desire in audiences for their works. After reviewing the very scanty archaeological evidence for the original victory images, I seek to recover something of the response elicited by these monuments by looking to visualizations of athletes in contemporary vase-painting and literary (...) sources, and most particularly in the epinician odes of Pindar. Poets and painters, I suggest, both place their subjects within an erotically-charged atmosphere which replicates that surrounding actual athletes in the city gymnasia and at the games, and encourage audiences to regard the youthful bodies on display as "spectacularized" objects, sources of both aesthetic and sensual pleasure. The makers of monumental images work within the same paradigm, also prompting the viewer to transfer the sentiments aroused by the real-world athlete and victor to his re-presentation in bronze. Through an examination of the conventions used for victor images, and a close study of the so-called Motya charioteer, I propose that the sculptor deploys techniques analogous to those of artist and poet to highlight the appeal of the athlete's body, and displays the victor in a mode calculated not only to mark him as the alluring target of the gaze, but even to cast him as a potential erômenos. The concluding section of the article investigates the impetus behind this mode of representation, and seeks to place the dynamic between the viewer and the viewed within the context of the early fifth-century polis. (shrink)

If patients are to be partners rather than subjects, contributing effectively to clinical research in which they have an interest, both they and investigators must change their ways. The case is argued here that the conduct of clinical research fulfils an essential need of society and that, therefore, in the interests of society, there is a moral imperative that it be done. Further essays will develop this theme, questioning along the way whether consent is a redundant concept.

In a series of articles, I argue for a different relationship between investigators and subjects of clinical research – one that is based on partnership in shared aims. This would require significant behavioural change since any relationship of this nature requires each partner to recognise their duties within it. This third essay examines the duties that would fall on patients in this partnership.

This series of articles argues for a different relationship between investigators and subjects of clinical research based on partnership in shared aims and recognition, by each, of their duties within this partnership. This second essay describes how those duties arise and explores the basis on which, and by and to whom, they are owed. The conclusion that patients have duties in research raises a number of moral issues which, ultimately, question the concept of consent. Discussion of these will be continued (...) in future articles. (shrink)

This series of articles have explored the need that society has for clinical research to be done and the consequent sets of duties that call on the one hand upon investigators to carry it out and on the other upon patients to be subjects of it. The purpose of the discussions has been to understand what should be the relationship between investigators and patient-subjects in order that both might meet their obligations effectively, efficiently, safely and with mutual respect. Here I (...) reach my conclusions. (shrink)

In these articles I have so far explored the set of duties that call upon patients to participate in clinical research as subjects of it. Here I consider whether they acquire a set of rights in consequence of participation, and what these rights may be.

In the first five of these articles I have questioned the justice, and effectiveness, of total dependence in clinical research on willing volunteers. I have explored ways that might better and more equitably spread the burden of participating in clinical research as subjects of it. Here I consider this question: if consent is the barrier, must we regard consent as indispensable?

What relationship between investigators and subjects of clinical research would best meet the needs and wants of both – and of society, which has an interest not only in clinical research being done but also in its being done well? This series of articles argues that investigators and subjects should work together in a partnership based in shared aims. Other relationships are possible, however, and here I examine two.

In a series of articles, I set out my belief that investigators and subjects of research should work together in a partnership based in shared aims. Such a relationship – quite different from what is usual today – would impose duties on both partners. In earlier papers I explored the origin and nature of the duties that would fall on patients; here I examine their limits.

This article focuses on a set of problems involving a controversial portion of the HHA that describes the performance of the Delian chorus in a rare instance of early performance criticism. First, the two variants for a key noun in line 162, bambaliastus and krembaliastus, are discussed. Skepticism is expressed about the applicability to this scene of the first variant. On the contrary, krembaliastus——the suitability of which has not been discussed in detail, even by scholars who seem to have favored (...) it——can make good sense. Literary and iconographic evidence makes it plausible that krembaliastus denotes the act of generating through percussion devices called krembala rhythmic patterns meant to govern stylized movement, what the Greeks called schêêmata. The marked term krembaliastus was probably employed to evoke a characteristic trait of the highly skilled Deliades. Furthermore, as vocal and kinetic activities were inextricably linked in choral practices, they are ultimately conceptualized as part of the same unified expressive mechanism. The author also questions the conventional interpretation of mimeisthai as ““mimicking,”” instead reading it as ““representation,”” involving the evocation of the essence of an entity but not necessarily exact reproduction of its formal details. Finally the essay argues that the Delian chorus' art of ““knowing how to represent the voices and the rhythmic patterns of all people”” designates the perfection of choral performance, as an all-inclusive enactment that forms a powerful trans-local bond. (shrink)

The essays in this volume apply philosophical analysis to address three kinds of questions: What are the implications of genetic science for our understanding of nature? What might it influence in our conception of human nature? What challenges does genetic science pose for specific issues of private conduct or public policy?

How far does a researcher’s responsibility extend when an incidental finding is identified? Balancing pertinent ethical principles such as beneficence, respect for persons, and duty to rescue is not always straightforward, particularly in neuroimaging research where empirical data that might help guide decision making are lacking. We conducted a systematic survey of perceptions and preferences of 396 investigators, research participants, and Institutional Review Board members at our institution. Using the partial entrustment model as described by Richardson, we argue that our (...) data supports universal reading by a neuroradiologist of all research MRI scans for incidental findings and providing full disclosure to all participants. (shrink)

A diagnosis of dementia often comes with difficulties in understanding a conversational context and expressing how one feels. So far, research on how to facilitate advance care planning for people with dementia focused on defining relevant themes and topics for conversations, or on how to formalize decisions made by surrogate decision makers, e.g., family members. The aim of this review is to provide a better scope of the existing research on practical communication aspects related to dementia in ACP conversations. In (...) November 2020, seven databases were searched to select papers for inclusion. This search was updated in December 2021. The search strategy consisted of three tiers, intersected by using the Boolean term “AND,” and resulted in 787 studies. Two researchers followed explicit criteria for two sequential levels of screening, based on titles and abstracts and full papers. A total of 22 studies were included for data analysis. Seven topics emerged clustered around two themes. This scoping review provides practical suggestions for healthcare professionals to improve ACP communication and uncovered gaps in research on communication aspects related to dementia in ACP conversations, such as non-verbal behavior, timing and implementation, and personal preferences. (shrink)

Late in 1990, the Center for the Study of Ethics in the Professions at Illinois Institute of Technology (lIT) received a grant of more than $200,000 from the National Science Foundation to try a campus-wide approach to integrating professional ethics into its technical curriculum.! Enough has now been accomplished to draw some tentative conclusions. I am the grant's principal investigator. In this paper, I shall describe what we at lIT did, what we learned, and what others, especially philosophers, can learn (...) from us. We set out to develop an approach that others could profitably adopt. I believe that we succeeded. (shrink)

Despite the widespread use of key concepts of the Neyman–Pearson (N–P) statistical paradigm—type I and II errors, significance levels, power, confidence levels—they have been the subject of philosophical controversy and debate for over 60 years. Both current and long-standing problems of N–P tests stem from unclarity and confusion, even among N–P adherents, as to how a test's (pre-data) error probabilities are to be used for (post-data) inductive inference as opposed to inductive behavior. We argue that the relevance of error probabilities (...) is to ensure that only statistical hypotheses that have passed severe or probative tests are inferred from the data. The severity criterion supplies a meta-statistical principle for evaluating proposed statistical inferences, avoiding classic fallacies from tests that are overly sensitive, as well as those not sensitive enough to particular errors and discrepancies. Introduction and overview 1.1 Behavioristic and inferential rationales for Neyman–Pearson (N–P) tests 1.2 Severity rationale: induction as severe testing 1.3 Severity as a meta-statistical concept: three required restrictions on the N–P paradigm Error statistical tests from the severity perspective 2.1 N–P test T(): type I, II error probabilities and power 2.2 Specifying test T() using p-values Neyman's post-data use of power 3.1 Neyman: does failure to reject H warrant confirming H? Severe testing as a basic concept for an adequate post-data inference 4.1 The severity interpretation of acceptance (SIA) for test T() 4.2 The fallacy of acceptance (i.e., an insignificant difference): Ms Rosy 4.3 Severity and power Fallacy of rejection: statistical vs. substantive significance 5.1 Taking a rejection of H0 as evidence for a substantive claim or theory 5.2 A statistically significant difference from H0 may fail to indicate a substantively important magnitude 5.3 Principle for the severity interpretation of a rejection (SIR) 5.4 Comparing significant results with different sample sizes in T(): large n problem 5.5 General testing rules for T(), using the severe testing concept The severe testing concept and confidence intervals 6.1 Dualities between one and two-sided intervals and tests 6.2 Avoiding shortcomings of confidence intervals Beyond the N–P paradigm: pure significance, and misspecification tests Concluding comments: have we shown severity to be a basic concept in a N–P philosophy of induction? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Aesthetic Experience and Education:Themes and QuestionsDeborah Kerdeman"Being with" music. Attentive responsiveness in teaching. Scholarly learning as engagement with beauty. Three evocative images of aesthetic experience come to light in the essays by Custodero, Hansen, and Neumann. From the musical play of children conducting imaginary orchestras to the vocational aspirations of adults who gaze through telescopes or study paintings at Chicago's Art Institute, aesthetic experience spans a range of activities (...) and ages. No matter the setting or moment, aesthetic experience vitalizes our lives with meaning and joy. Why this is so and what difference this makes for education emerge as overarching concerns in this set of papers. Addressing these issues, the authors articulate a number of commonthemes and reach similar conclusions about the nature and value of aesthetic experience.I want to identify and analyze key ideas that run throughout these essays. Doing so deepens our appreciation of the authors' insights and underscores the importance of the project they undertake. I also want to examine three questions that the essays suggest but do not develop. Exploring these questions, I hope to further enrich our understanding of aesthetic experience and its place in education.First and foremost, aesthetic experience for all three authors integrates multiple ways of knowing and enables individuals to perceive connections that they might otherwise overlook. According to Custodero, aesthetic experience harmonizes imagination, physicality, and "thinking-in-action." [End Page 88] Thinking-in-action, Custodero says, while "critical and consequential," is nonverbal and nonjudgmental — unifying rather than analytic. Synthesizing bodily movement, imagination, and thought, aesthetic experience reveals "surprise relationships between seemingly disparate phenomena." The theme of integration is echoed in Neumann's description of scholarly learning as aesthetic experience. Scholarly learning does not shun feeling or lived experience, Neumann writes. This way of knowing instead is "deeply emotional and personal." Insight fuses with emotion, enabling scholars to "feel the whole picture," as David the astronomer puts it in his interview with Neumann. For Hansen, aesthetic experience connotes heightened perception, a way of being that attends to nuances of gesture that would otherwise remain invisible. "The aesthetic highlights aspects of wonder and of beauty that emerge, spontaneously and unrehearsed," Hansen explains. A form of creativity, aesthetic perception combines with moral and intellectual understanding to fully embrace "the living dynamic gestalt" of teaching and learning.Aesthetic experience thus integrates mind, body, and emotion. Hansen links aesthetic experience to moral judgment as well. Integrating various ways of knowing, aesthetic experience enables individuals to perceive and understand relationships that pulse throughout the social and natural world. Such understanding is pleasurable, the authors agree.Aesthetic experience not only is integrative. It also is interactive. Custodero's musicians interact with instruments, musical scores, and other individuals. Neumann's scholars interact with ideas and scholarly materials. Hansen's preservice teachers interact with works of art, subject matter, students, and one another. Interacting with people and things, individuals become absorbed in what they are doing. "Being with" music is howCustodero puts it. Carmen, the professor of music in Neumann's essay, says that playing music well "is like a complete focus of oneness."Being absorbed in aesthetic interaction does not discount or dissolve the ability to make decisions or direct action. Aesthetic experience rather presumes and promotes "aesthetic agency," to borrow a phrase from Custodero. "To 'be in the moment,'" Custodero writes, "is to encounter the aesthetic — fully engaged in an activity for which one's individual contributions are perceived as vital." Hansen's description of aesthetic perception combines attentiveness and responsiveness in a "dynamic combination of patience, listening, and initiative." Neumann states that scholarly learning is an experience of "deep engrossment." Such engrossment does not extinguish the self, however. In the words of David the astronomer, feeling "the whole picture... is a combination of both what you see, sort of an instinctive or primal thing, and also your knowledge of what, you know, you put together." [End Page 89]The interactive nature of aesthetic experience thus signifies a kind of "agency-in-situ." Aesthetic experience is shaped or directed by the contribution and initiative of individuals. But individuals cannot act in advance of experience or know what to do, unless they are... (shrink)

We report the identification of a recurrent, 520-kb 16p12.1 microdeletion associated with childhood developmental delay. The microdeletion was detected in 20 of 11,873 cases compared with 2 of 8,540 controls and replicated in a second series of 22 of 9,254 cases compared with 6 of 6,299 controls. Most deletions were inherited, with carrier parents likely to manifest neuropsychiatric phenotypes compared to non-carrier parents. Probands were more likely to carry an additional large copy-number variant when compared to matched controls. The clinical (...) features of individuals with two mutations were distinct from and/or more severe than those of individuals carrying only the co-occurring mutation. Our data support a two-hit model in which the 16p12.1 microdeletion both predisposes to neuropsychiatric phenotypes as a single event and exacerbates neurodevelopmental phenotypes in association with other large deletions or duplications. Analysis of other microdeletions with variable expressivity indicates that this two-hit model might be more generally applicable to neuropsychiatric disease. © 2010 Nature America, Inc. All rights reserved. (shrink)

Dieses Buch stellt Körpervorstellungen der Spätrenaissance jenen der Gender Studies gegenüber, da diese historisch inkompatiblen Textkorpora signifikant ähnliche holistische Ansätze in medialen und epistemischen Zeitenwenden verfolgen. In den ausgewählten naturphilosophischen Texten des 16. Jahrhunderts werden originäre Theorien zu Leiblichkeit verhandelt, die an eine mediterrane Tradition des Materialismus anknüpfen.Gemeinsam sind ihnen relationale Modelle von Natur und Kultur, was etwa eine ausgeklügelte Affektelehre dokumentiert. Wechselseitige Einflüsse zwischen Körperinnerem und Körperumgebung sind auch zentraler Forschungsgegenstand rezenter Gender Studies, die auf die Offenlegung der metaphorischen (...) Verfasstheit wissenschaftlicher „Wahrheiten“ zielen. Die Archäologie historischer Körpermodelle erschließt originäre Zugänge zu Konstruktionen des (männlichen) Subjektes. Da Geschlechterregime immer auf Ordnungen von Körper und Geist basieren, ist es unerlässlich, deren Wechselspiel mit technologischen, sozialen und kulturellen Paradigmen zu beleuchten. Deshalb wird auch die Verarbeitung philosophischer Körperkonzepte in wirkmächtigen literarischen Texten wie etwa der Celestina oder dem Orlando Furioso eingehend analysiert. (shrink)