Epistemology has recently come to more and more take the articulate form of an investigation into how we do, and perhaps might better, manage the cognitive chores of producing, modifying, and generally maintaining belief-sets with a view to having a true and systematic understanding of the world. While this approach has continuities with earlier philosophy, it admittedly makes a departure from the tradition of epistemology as first philosophy.

Recent ideological positioning on the world stage has born a startling resemblance to a form of positioning within nursing theory – that of taking complex ideas, reducing them to a simplistic binary form, and uncritically adopting one half of that form. In some cases, this adoption of a binary position has led to a passionately held form of ‘othering’ that prohibits a healthy and critical engagement with ideas. As alluring as settling for the binary form may be – we argue (...) for holding binaries in tension as a catalyst for stimulating dialogue – reasoning and exploration of new ways of wrestling with the social and moral complexity of nursing. (shrink)

Self-criticism is a trait associated with increased psychopathology, but self-criticism is also a personality state reflecting an action that people do in moments of time. In the current study, we explored factors associated with heightened self-criticism in daily life. Participants (N = 197) received five random prompts per day for one week on their mobile phones, where they reported their current affect (negative and positive affect), willpower self-efficacy, distress intolerance, degree of support and criticism from others, current context (location, activity, (...) hunger, tiredness) and momentary self-criticism. We first demonstrated that self-criticism varies over time and across contexts, and is associated with heightened trait self-criticism. Then, using multilevel modelling, we explored the contextual factors associated with greater self-criticism. We found that self-criticism was higher when people were at home, and more tired. We also found higher self-criticism to be associated with greater negative and lower positive affect, greater distress intolerance, lower willpower and greater perceived criticism from others. In addition, self-criticism predicted subsequent distress intolerance, willpower and positive affect in lagged analyses. This study provides evidence that both environmental and psychological factors are associated with the dynamics of self-critical thoughts. (shrink)

Explaining Norms is a work in philosophy of social science aspiring to provide an account of norms, their general character, their kinds ðformal, legal, moral, and socialÞ, what they can explain, and what explains their dynamic ðemergence, persistence, and unravelingÞ. The authors engage with various positions in ethics, political philosophy, and ðto some extentÞ the philosophy of law. The discussion is rewarding and inventive—it provides distinctive and intriguing views on several topics ðe.g., on the distinction between moral and social normsÞ. (...) There are a lot of ideas here. Perhaps this is predictable, given that the work is a product of four capable minds. What is surprising is the range of ideas and arguments on which the authors manage to agree and out of which they construct one reasonably cohesive account. Given the wide range of literatures discussed, readers are likely to find much of interest. Not surprisingly, some related literatures do seem to be underplayed—treated in a few footnotes and somewhat by the way, with little development of systematic connections. There are thriving literatures in comparative psychology/ ethology, moral psychology, and cultural anthropology that are devoted to how we humans manage to cooperate and coordinate as we do. While there are footnotes to some of this literature ðsee the index for, e.g., Boyd, Bowles, Camerer, Gintis, and HenrichÞ, many readers would have benefited from a discussion that more fully related the position developed in Explaining Norms to that work in experimental economics and anthropology. Discussing the relationships with work in moral psychology and ethology would also have been appreciated ðHaidt, de Waal, and Tomasello are not mentionedÞ. Still, there is very much to like about what is treated here. The authors seek conceptually individually necessary and jointly sufficient conditions for being a norm. On the account provided, norms are something on the order of normative principles accepted in some group ð3–4Þ. Thus, norms involve some normative principle, possessing “a certain generality of scope and application.” These principles need not be objectively correct or fitting, and they may be objectively “simply awful” ð3Þ. The central questions have to do with what is involved in some group accepting these normative principles. The authors locate their position in two dimensions. (shrink)

Context: The idea for this article sprang from a desire to revive a conversation with the late Ernst von Glasersfeld on the heuristic function - and epistemological status - of forms of ideations that resist linguistic or empirical scrutiny. A close look into the uses of humor seemed a thread worth pursuing, albeit tenuous, to further explore some of the controversies surrounding the evocative power of the imaginal and other oblique forms of knowing characteristic of creative individuals. Problem: People generally (...) respond to humor, i.e., they are inclined to smile at things they find funny. People like to crack jokes, make puns, and, starting at age two, human infants engage in pretense or fantasy play. Research on creativity, on the other hand, has mostly scorned the trickster within. Cognitivists in particular are quick to relegate wit, whimsy, and even playfulness to the ranks of artful or poetic frivolities. Method: We use the emblems of the craftsman, the trickster, and the poet to highlight some of the oblique ways of knowing by which creative thinkers bring forth new insights. Each epitomizes dimensions intrinsic to the art of “possibilizing.” Taken together, they help us better understand what it means to be playful beyond curious, rigorous beyond reasonable, and why this should matter, even to constructivists! Results: The musings characteristic of creative individuals speak to intelligent beings’ ability to use glitches intentionally or serendipitously as a means to open up possibilities; to hold on to a thought before spelling it out; and to resist treating words or images as conventional and arbitrary signs regardless of their evocative power. To fall into nominalism, Bachelard insisted, is a poet’s nightmare! Implications: Psyche is image, said Jung, and when we feel alive we rely on the imaginal to guide our reason. Note that image is not here to be understood as a picture in the head or a photographic snapshot of the world. The imaginal does not represent, it brings forth what we understand beyond words. It does not lock us into a single mode. Instead, it is a call to be mindful, in Ellen Langer’s sense: in the present, mentally alert, and on the outlook for our psyche’s own surprising wisdom (sagacity. Constructivist content: Debates on the heuristic function and epistemological status of oblique ways of knowing have long occupied constructivist scholars. I can only guess whether my uses of Jung’s imaginal or Bachelard’s anti-nominalism would have amused or exasperated Ernst! I do know that, on occasion, Ernst the connoisseur, bricoleur, and translator allowed the rationalist-within to include the poet’s power to evoke as a legitimate form of rationality. He himself has written about oblique knowing as legit! (shrink)

TheCulexis now widely recognized as a piece of post-Ovidian, possibly Tiberian, pseudo-juvenilia written by an author impersonating the young Virgil, although it was attached to Virgil's name already in the first centuryc.e., being identified as Virgilian by Statius, Suetonius and Martial. Dedicated to the young Octavian (Octauiin line 1), the poem seems to fill a biographical gap in Virgil's career before his composition of theEclogues. It is introduced as aludus, which Irene Peirano suggests may openly refer to ‘the act of (...) impersonating Virgil’, and, like many of the poems in theAppendix Vergiliana, it seems to have a parodic intent. TheCulexhas been interpreted as a parody of neoteric style and the epyllion, as mock-epic, as Virgil parody (John Henderson called it a ‘spoofAeneidin bucolic drag’), as pointed Augustan satire, as mock Ovidian ‘Weltgedicht’ and as just very bad poetry (Housman's ‘stutterer’). Glenn Most has observed that the poem's three ‘acts’ structurally recapitulate Virgil's three major works in chronological succession. Little attention, however, has been paid to theCulex's final lines, which contain a catalogue of flowers thepastorplaces on the gnat's tomb. Recent scholarship has reintroduced an older interpretation of the gnat's tomb as a political allegory of Augustus’ Mausoleum; in this paper I suggest instead that the tomb and its flowers serve a closural and metapoetic function at the end of the poem. (shrink)

The study of syntax is fundamental to linguistics and language study, but it is often taught solely within the framework of transformational grammar. This book is unique in several respects: it introduces the basic concepts used in the description of syntax, independently of any single model of grammar. Most grammatical models fail to deal adequately with one aspect of syntax or another, and the authors argue that an understanding of the concepts used in any full description of language is crucial (...) for assessing the strengths and weaknesses of formal grammars. Formal approaches to some of these concepts are critically examined. This book will train students, of either linguistics or language, to understand and make the best use of any grammar they encounter. Secondly, the book deals with the whole of syntax from immediate constituents and relations between sentences. It also examines concepts like subject and object, agent and patient, topic, comment and theme. Thirdly, there is a section on morphology, and a discussion of the relationship between syntax and morphology. As a book which explains, in a lucid and approachable way, why linguists have adopted certain solutions to problems and not others, this will be an invaluable introductory text. It is profusely illustrated with diagrams, and there are sets of exercises for every chapter which can be used in class, or by students working independently. This second edition has been extensively revised to take account of recent developments in syntactic studies. (shrink)

Bowra , referring to the image of the , and to the striking impression , states ‘Pindar seems to fuse two unusually disparate images into a single result… While the sheddingof leaves implies that he would have grown old without winning any wide renown, the cock means that such renown as he would have got would have beenof little account in the Greek world at large.’ Gildersleeve's comment ad loc, ‘The thus becomes a flower’, implies a similar assumption, that the (...) secondimage is entirely unconnected with the first. (shrink)

Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...) himself2—particularly for spreading on wooden writing-tablets. It was surmised by Schwabe that μàλθη had been the word glossed in Ael. Dion. Two entries in Pollux are especially important for establishing the use ofmaltha. In 10. 58–9, describing it as ό ένών т πινακίδί κηρϳς, he quotes passages from Herodotus , Cratinus , and Aristophanes referring to the soft wax which could easily be scraped from writing-tablets to erase writing. In 8. 16 he says it is the wax spread on the dicasts’ πινáκιον тιμηтικóν, from scratching on which the ‘long line’ of condemnation it will be remembered that Athenian philheliasts got wax under their finger-nails. (shrink)

In a recent article I drew attention to the fact that the well-known fable of the improvident cicada and the industrious ant has a close resemblance to the story of the twin brothers Amphion and Zethus and their classic debate on the respective merits of the artistic and practical life in Euripides' Antiope, which is reflected not only in the argument of Callicles and Socrates in the Gorgias and Horace, Ep. i. 18.

Bowra, referring to the image of the, and to the striking impression, states ‘Pindar seems to fuse two unusually disparate images into a single result… While the sheddingof leaves implies that he would have grown old without winning any wide renown, the cock means that such renown as he would have got would have beenof little account in the Greek world at large.’ Gildersleeve's comment ad loc, ‘The thus becomes a flower’, implies a similar assumption, that the secondimage is entirely (...) unconnected with the first. (shrink)

Philocleon's dance in the exodus of the Wasps, and its allusions to, and caricatures of, contemporary composers or dancers, have often been discussed, and much is bound to remain inconclusive in view of the dubious nature of such scanty material as has survived in explanation of the scene in the scholiastic tradition. It is particularly unfortunate that it is not certain who is the Phrynichus referred to in 1490 ff.

‘Quid vero fit, quod poeta hanc plantam, tanquam munus locustae inprimis gratum, commemoret, nemo dixit; nee ego dicere possum’—so Jacobs in his note on the seventh line of this epigram. Among later commentators, Mackail thinks ‘can hardly mean “leek” here’ and he assumes it to be ‘groundsel’; Dain in the Budé edition is satisfied with the rather prosaic explanation that it is an ‘observation très juste … la cigale ne se nourrit que des sues des plantes’. I hope to show (...) that the diet of leeks and dewdrops from the mouth is promised by the love-sick swain of Meleager's poem for the same specific reason—to refresh the grasshopper's ‘voice’ for a new day's beguilement by song and persuasion to the sleep which will again free him from the cares of love. Although the ancients were aware of the means by which such insects produced their incessant sound, they remained faithful to the poetic tradition, which made them drink dew as a prelude to their singing, first found in Hesiod, Scut. 395, and clearly expressed in a couplet of Antipater of Thessalonica. (shrink)

The literary contest of the two tragedians in Frogs is introduced by four stanzas redolent of Homeric combat, with their predominantly dactylic metre and a number of high-flown epic words. I am surprised that several editors prefer the reading ὑψλøωυ at 818, as íππóλοøος surely has a resonance of íπποκορυστς of Iliad 2.1, etc. The readings and sense, however, of both halves of 819 have long been controversial. As Dover suggested in his 1993 edition the MSS ‘linch-pins of splinters’ is (...) less satisfactory than his proposed transposition to ‘splintering of linch-pins' , which suggests a recollection of the dangers of chariot accidents or collisions, as in the funeral games of Il. 23. But the following expression ‘shavings of deeds’ is even more puzzling, and highly improbable, and Heiberg's emendation to σμιλο, agreeing with φωτÓς , is preferred by Stanford among others, though doubted by Dover. (shrink)

The literary contest of the two tragedians in Frogs is introduced by four stanzas redolent of Homeric combat, with their predominantly dactylic metre and a number of high-flown epic words. I am surprised that several editors prefer the reading ὑψὑλøωυ at 818, as íππóλοøος surely has a resonance of íπποκορυστ⋯ς of Iliad 2.1, etc. The readings and sense, however, of both halves of 819 have long been controversial. As Dover suggested in his 1993 edition the MSS ‘linch-pins of splinters’ is (...) less satisfactory than his proposed transposition to ‘splintering of linch-pins', which suggests a recollection of the dangers of chariot accidents or collisions, as in the funeral games of Il. 23. But the following expression ‘shavings of deeds’ is even more puzzling, and highly improbable, and Heiberg's emendation to σμιλο⋯, agreeing with φωτÓς, is preferred by Stanford among others, though doubted by Dover. (shrink)

In 394 most editors of the Knights read, cited uniquely from this passage in the lexica, in the sense ‘dry up, parch’, referring, for the condition and appearance of the prisoners after long captivity and privations, to Nub. 186, where the allusion is to the squalor and emaciation of the Socratics. Now Aristophanes' skill in maintaining allusively an image, once a keyword has been supplied, makes me wonder how line 394 was intended to complete the metaphor of the harvest and (...) the crop in 392–3. (shrink)

Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...) himself2—particularly for spreading on wooden writing-tablets. It was surmised by Schwabe that μàλθη had been the word glossed in Ael. Dion.Two entries in Pollux are especially important for establishing the use ofmaltha. In 10. 58–9, describing it as ό ένών т πινακίδί κηρϳς, he quotes passages from Herodotus, Cratinus, and Aristophanes referring to the soft wax which could easily be scraped from writing-tablets to erase writing. In 8. 16 he says it is the wax spread on the dicasts’ πινáκιον тιμηтικóν, from scratching on which the ‘long line’ of condemnation it will be remembered that Athenian philheliasts got wax under their finger-nails. (shrink)

In addition to the technical writers on music, a number of ancient authors, notably Plutarch and Athenaeus, have recorded several musical terms, either by way of illustrative material—Plutarch is particularly given to musical similes and metaphors—or in the course of anecdotes about music and musicians. As musical terminology in different ages contains words or phrases not only of general acceptance and familiarity, but other more ephemeral expressions which belong to the jargon of a narrower circle of executants and critics, it (...) is possible that the musical significance of such words, when used in an apparently non-musical context, has escaped notice. (shrink)

Every Greek scholar knows the celebrated lapsus linguae committed by the tragic actor Hegelochus at the Great Dionysia of 408 B.C., when he faltered in his enunciation of line 279 of Euripides' Orestes and gave the impression to the mirthful audience of having said I am surprised, however, that the commentators on this line have only partially explained the reason for its having seemed exceptonally funny.

Every Greek scholar knows the celebrated lapsus linguae committed by the tragic actor Hegelochus at the Great Dionysia of 408 B.C., when he faltered in his enunciation of line 279 of Euripides' Orestes and gave the impression to the mirthful audience of having said I am surprised, however, that the commentators on this line have only partially explained the reason for its having seemed exceptonally funny.

In my article ‘Two Textual Problems in Euripides’ Antiope, Fr. 188' , in which I compared the debate of Amphion the unpractical musician and his industrious brother Zethus to the fable of the cicada and the ant, I drew attention to a passage of Olympiodorus' commentary on the Gorgias which had been overlooked in the testimonia to Euripides' play, and which begins.

In my article ‘Two Textual Problems in Euripides’ Antiope, Fr. 188', in which I compared the debate of Amphion the unpractical musician and his industrious brother Zethus to the fable of the cicada and the ant, I drew attention to a passage of Olympiodorus' commentary on the Gorgias which had been overlooked in the testimonia to Euripides' play, and which begins.

In a recent article Mr. D. A. West investigated the meaning of haurire, haustus, showing how the primary sense ‘to take by scooping, to draw’ is present in a number of passages which have been incorrectly interpreted in the light of extensions made only later of this usage. He noted in passing that ‘this sense may well survive in, the cognate of haurire’. In this article I hope to show that the recognition of this as the basic sense of and (...) its cognates and compounds helps to clear away a number of errors arising from the misunderstanding of the fact that the action of scooping, or drawing, is at the root of Gk., as of Lat. haurire. (shrink)

In an article1 entitled Lucrèce et les éléphants, Professor Ernout has referred to recent archaeological evidence that in palaeolithic times the skeletons of mammoths were used in the construction of primitive habitations, and observes that the well-known lines of Lucretius. 532 ff. about India being so prolific inelephants that the whole land ‘milibus e multis vallo munitur eburno’ mayrefer not to anything legendary, nor to themilitary use of elephants in large numbers for frontier defence, but to a recognitionof the fact (...) that even in later times ‘les Indiens avaient pu conserver leurmode de vie et utiliser avec ses défenses d'éléphant le système de protectioninvente par leurs ancêtres, ou simplement conserver ces gigantesques os demammouths’, etc. (shrink)