In this book, 34 renowned philosophical practitioners from 20 different countries present a variety of dialogue methods for philosophical practice, which have never before been published in such a compact and compiled form. By having Socrates and his method of maieutics (the art of midwifery of the soul, as he called it) as one of its main sources of inspiration, the book offers different methodological approaches in order to prompt people to wonder, to reflect, to change perspective, and to think (...) differently; in short, to make people philosophize about life and the way they live it. (Series: Report of the Global Ethic Initiative Austria / Schriftenreihe der Initiative Weltethos Osterreich - Vol. 9) [Subject: Philosophy]. (shrink)

Musical prodigies reach exceptionally high levels of achievement before adolescence. Despite longstanding interest and fascination in musical prodigies, little is known about their psychological profile. Here we assess to what extent practice, intelligence, and personality make musical prodigies a distinct category of musician. Nineteen former or current musical prodigies were compared to 35 musicians with either an early or late start but similar amount of musical training, and 16 non-musicians. All completed a Wechsler IQ test, the Big Five Inventory, the (...) Autism Spectrum Quotient, the Barcelona Music Reward Questionnaire, the Dispositional Flow Scale, and a detailed history of their lifetime music practice. None of the psychological traits distinguished musical prodigies from control musicians or non-musicians except their propensity to report flow during practice. The other aspects that differentiated musical prodigies from their peers were the intensity of their practice before adolescence, and the source of their motivation when they began to play. Thus practice, by itself, does not make a prodigy. The results are compatible with multifactorial models of expertise, with prodigies lying at the high end of the continuum. In summary, prodigies are expected to present brain predispositions facilitating their success in learning an instrument, which could be amplified by their early and intense practice happening at a moment when brain plasticity is heightened. (shrink)

The shadowy Roman god Sēmō and the plural group Sēmōnēs have long been associated with sēmen ‘seed.’ But the evidence that Sēmō or the Sēmōnēs have anything to do with seeds is lacking. The Sēmōnēs first appear in the Carmen Arvale: here they constitute Mars's retinue. The Sabellic evidence also puts Semo firmly in the Martial sphere. The form Semo appears, in addition, as part of the Semo Sancus Dius Fidius complex. These divinities are connected with the sanctity of treaties (...) and oaths. In “Dumézilian” terms Semo is a god of the first and second function, but not a god of the third function, precisely the opposite of what the standard etymology predicts. New evidence from Oscan allows us to reject conclusively the connection between sēmen and Sēmō. In an inscription from Pietrabbondante the god's name is spelled seemuneí and this spelling with ee is not the expected one. If the Oscan form were a derivative of the root seen in sēmen, the spelling would have to have been †síímuneí. The spelling ee shows that the Oscan form, and its Latin cognate, must have a different origin. The only plausible source is *seγVmōn-. A form that matches reconstructed *seγVmōn- exactly is Gaulish Segomoni and Ogham Irish SEGAMANAS. The Gaulish god is identified with Mars. The Celtic and Italic forms continue a Proto-Italo-Celtic *seĝhomōn- ‘strong one,’ ‘strongman,’ which is a derivative of a noun *seĝhom ‘strength.’ The root *seĝh- had the original meaning ‘hold firmly’ and this developed to ‘be strong,’ ‘conquer’ in Indo-Iranian and Western Indo-European. The god *seĝhomōn- is the sole example of a divine name that perhaps can be considered a unique and innovative feature of the ancient Proto-Italo-Celtic speech community. (shrink)