Almost everyone believes that testimony can transmit knowledge from speaker to hearer. What some philosophers mean by this is ordinary and pedestrian-- they mean only that, in at least some cases, a speaker S knows that p, S testifies that p to a hearer H, and H comes to know that p as a result of believing S's testimony. There is disagreement about how this occurs, but that it does occur is sufficient for the transmission of knowledge in the intended (...) sense. On this understanding of transmission, the natural questions are these: (1) What conditions, in addition to speaker knowledge and speaker testimony, are sufficient for the hearer to gain testimonial knowledge?; and (2) Is speaker knowledge always necessary for testimonial knowledge? That is: Is all testimonial knowledge transmitted knowledge? (shrink)

Epistemic iteration principles are principles according to which some or another epistemic operator automatically iterates---e.g., if it is known that P, then it is known that P, or there is evidence that P, then there is evidence that there is evidence that P. This article provides a survey of various arguments for and against epistemic iteration principles, with a focus on arguments relevant to a wide range of such principles.

Jessica Brown argues against infallibilist views of knowledge as follows. (1) Infallibilism is committed to the sufficiency of knowledge for self-support: if one knows that p, then p is part of one's evidence for p. (2) This commitment is false: often one knows that p, but p isn't part of one's evidence for p. So (3) infallibilism about knowledge is false. I’ll respond by questioning the motivation for (2). Brown’s main line of argument in defense of (2) concerns the awkwardness (...) of citing a proposition as evidence in support of itself. I’ll argue that this infelicity, while genuine, stem not from any particular view about knowledge, but from a probabilistic conception of evidential support. Given such a conception of evidential support, whenever E is part of someone’s evidence, E is evidence for E. This is no less awkward for the fallibilist than the infallibilist. I’ll argue that if we adopt a contextualist view of evidence, we can hold on to the independently attractive probabilistic conception of evidential support, while respecting the idea that there's something wrong with citing a proposition as evidence for itself. -/- . (shrink)

Starting from some remarks about the use of models in psychology, Human Information Processing (henceforth called H.I.P.) models which sometimes use computer simulation will be examined. An attempt to show that simulation in psychology does not necessarily imply an H.I.P. approach is then made.

The study of Greco-Roman civilisation is as exciting and innovative today as it has ever been. This intriguing collection of essays by contemporary classicists reveals new discoveries, new interpretations and new ways of exploring the experiences of the ancient world. Through one and a half millennia of literature, politics, philosophy, law, religion and art, the classical world formed the origin of western culture and thought. This book emphasises the many ways in which it continues to engage with contemporary life. (...) Offering a wide variety of authorial style, the chapters range in subject matter from contemporary poets' exploitation of Greek and Latin authors, via newly discovered literary texts and art works, to modern arguments about ancient democracy and slavery, and close readings of the great poets and philosophers of antiquity. This engaging book reflects the current rejuvenation of classical studies and will fascinate anyone with an interest in western history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Myrmidon vs. the AbbessHow Contrasting Mechanisms to Resolve Mimetic Contagion in Shakespeare's Troilus and Cressida and Comedy of Errors Stand as a Warning Against the Rejection of Christianity in Favor of Resurgent Homeric EthosBrian P. Quaranta (bio)This investigation started with a question: Why does Shakespeare hate the Iliad?The question arose after first reading Troilus and Cressida (T&C), Shakespeare's play set during the Trojan War. In his retelling, all (...) claims to glory for Homer's heroes are undermined; a world that is presented by Homer as brutal but honorable is replaced, by Shakespeare, with one that is rife with social and physical disease. As I continued to consider why Shakespeare displayed such hostility toward the Iliad, I found myself recognizing multiple, much more subtle, allusions to the Trojan War in another of his plays set in ancient Greece, The Comedy of Errors (COE). In time, it became apparent that the connection of these two plays with each other, and with the Iliad, was deliberate; through this comparison, Shakespeare rejects the Homeric ethos in favor of a Christian one. A consideration of René Girard's work on Shakespeare helps to bring home the connection between the plays and the concern that they illuminate.In his Theatre of Envy, Girard famously claimed that Shakespeare was consciously familiar with the concepts of mimetic desire and its relationship [End Page 183] to collective violence.1 He drew upon T&C and COE for examples: T&C for its explication of the importance of degree, its employment of collective murder, and the association of mimetic contagion with disease,2 and COE primarily for its emphasis on the special role of twins in mimetic theory as exemplars of identical rivals.3 Girard, I believe, is correct that Shakespeare understood the mechanisms and implications of mimetic theory, and he demonstrates how in these plays its consequences play out in a purely pagan world, and then in another in which there is a saving Christian intervention.The intellectual current of Shakespeare's time has been characterized by two primary themes: Reformation and Renaissance. The use of the word reformation, when taken on its own terms, suggests a benign and necessary process. But for an Englishman in the late 16th century, reformation also would have meant violence, displacement, fracture, war, and the disintegration of a once-unified Christendom. This crumbling of the ancient universal catholic church was accompanied by the Renaissance, a term used to refer to the rebirth of interest in, and progressive obsession with, the culture and literature of the ancient Greeks and Romans.4 My argument is that the two plays discussed here can be read as Shakespeare's response to these developments, demonstrating an anxiety over the threat of resurgent pagan values to a troubled Christianity, with T&C's ending standing as a warning of the danger of a return to the scapegoat mechanism, and COE reminding the reader of the power of the Christian alternative.The essay begins with a brief reminder of the depth of the enthusiasm for the classical era that emerged in Europe in the century leading up to, and including, the life of Shakespeare. I then detail the surprising ways in which Shakespeare thoroughly upends expectations in his retelling of the Trojan War story, discrediting the original tale. Next, the similarities of the Comedy of Errors to Troilus and Cressida, and to the Iliad, are documented. Because this area has received little previous scholarly attention, and because it is crucial to the argument, the inversions of the Trojan War in COE are meticulously detailed. Once it has been established that the two plays both respond to the Iliad, Girard's mimetic theory is brought to bear to explain the very different endings of the plays and to reveal Shakespeare's underlying concern about the Homeric ethos.THE RENAISSANCE AND SHAKESPEARE'S RESPONSE TO THE CLASSICSThe emerging triumph of the Greco-Roman pagan world over the renaissance mind, and its intrusion into the Christian realm, are evident in the development [End Page 184] of visual art in the decades preceding Shakespeare's work. Works by Michelangelo, Raphael, and Giulio Romano, depicting... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Believing in Yesterday while Living for TodayJudith P. HallettLee T. Pearcy's meditation on the past and prospects of classical education in the United States, The Grammar of Our Civility: Classical Education in America (Baylor University Press, Waco, Tex. 2005), embarks from an assessment by the German émigré-scholar Werner Jaeger in his Scripta Minora, published in Rome in 1961, a year before Jaeger died. Jaeger's exact words merit full quotation: (...) "Without the continuing prestige of the ancient idea of humanity in human culture, classical scholarship is just a waste of time. Whoever does not see this ought to come to America and let himself learn from the way classical studies have developed there." Arguing "that Jaeger was right," Pearcy contends that "Classics, the study of ancient Greece and Rome, has never developed, as other academic subjects and disciplines have, a distinctly American form in response to American social and cultural conditions." Instead, "classics in this country has imitated European models and patterned itself after forms of education and scholarship developed in a cultural context where, as Jaeger saw, the prestige of Humanism guaranteed the cultural value of classical study" (Foreword, x).The Grammar of Our Civility not only offers a thoughtful response to Jaeger's criticism of how classical studies have developed in this alien environment; it also considers how they might, at long last, become truly American. In faulting classics in this country for merely emulating inapposite European models, Pearcy investigates the genesis of these models in Renaissance Italy and nineteenth-century England and Germany, and traces the evolution of American classics in higher and secondary education from colonial to contemporary times. He maintains that the inability of classics "to negotiate successfully the transition at the end of the nineteenth century," moving from the curricular configurations that have been called the "Old College" to the modern American university, has left it uniquely marginalized among professionalized disciplines. Yet he also evocatively imagines, in the mode of another illustrious European settler on our shores, John Lennon: "the contours of a distinctive form of classical education grounded in American personal and social reality [End Page 589] as firmly as European classical studies were grounded in the society they served" (Foreword, ix–x).Pearcy insists that this "pragmatic" American form of classical education needs to resemble its European predecessor by remaining "a way of becoming human and humane." Nevertheless, he envisions that it will adopt patterns of education and scholarship that draw on the "progressive, democratic strain" in the practice of a few American classicists, "avoid[ing] the temptations of some postmodern theories that deny language and literature any possibility of interacting with the human world and make them instruments of power rather than the creators of the powerful." He visualizes a discipline that emerges from and reacts to what he terms the "American cultural self... indeterminate and various." At the same time, he stipulates that this new form of classics must respond to "Jaeger's provocative challenge... by refusing to depend on the 'ancient idea of humanity in human culture'" (118–19).Jaeger's "ancient idea," responsible for the form of classical education that prevailed from approximately the Renaissance to World War I, is the "grammar" of Pearcy's title. Pearcy deploys the term "grammar" in an inventive, subtle analogy between the mastery of an individual language and the study of the entire classical world. As he observes, much as those who acquire the fundamentals of a language through exposure to abstract accounts of its workings become capable of comprehending and actively transforming the culture that this language describes and sustains, so those who once absorbed the messages emanating from that old-time, Old World classical education came to possess the "tastes, values and attitudes of the governing class," and be deemed "civilized" (2–5).Pearcy ponders the form that this "civility" of yore—informed, humane interactions of the mind—might assume in American society today. He similarly considers how a new, culturally rooted and authentic kind of grammar—formal intellectual engagement with the ancient Greco-Roman world in the halls of learning—might foster that civility. Not surprisingly, he assumes that those acquiring this grammar "will begin... (shrink)

The study of Greco-Roman civilisation is as exciting and innovative today as it has ever been. This intriguing collection of essays by contemporary classicists reveals new discoveries, new interpretations and new ways of exploring the experiences of the ancient world. Through one and a half millennia of literature, politics, philosophy, law, religion and art, the classical world formed the origin of western culture and thought. This book emphasises the many ways in which it continues to engage with contemporary life.

The subject of “the last pagans” or “the end of paganism” in the Greco-Roman world has interested scholars for over a century but begs the question “What is paganism?” Is the term usable as a tool of analysis? It originates from the Latin paganus, meaning “villager,” “rustic,” and reflects the way that Latin speakers viewed early Christianity as a phenomenon of the countryside, much as the English heathen, or German Heide, derives from a root meaning “heath.” Greek-speaking Christians, by (...) contrast, used a variety of terms, but their favored one was Hellene, which reflected the perception that their main opposition came from Greeks who remained faithful to their traditional culture and beliefs. Hence paganism, when used by a modern author, is implicitly one-sided and also obscures the very real gap in perception between Greek speakers and Latin speakers of antiquity. Accordingly, some recent authors have tried to replace pagan with polytheist, but the latter term has the disadvantage that many pagans tended toward monotheism, or to a modified monotheism that regarded one god as vastly superior to all others (“henotheism”). Heathen is similar in being an insider's term, current when Christianity was the default position of religious discourse, and now largely obsolete. It is best to retain the word pagan but to concede that it is merely a pis aller. (shrink)

Those supporting laws permitting assisted suicide seem to enact a thin morality, one that permits people who desire AS to get it in the terminal stages of an illness, and that provide safeguards both for those who desire AS and do not desire it. This article explores the way in which all AS legislation subtly frames the question of AS such that AS becomes the clearest option; ensconcing AS in law also gives a moral legitimacy to suicide. Thus, the morality (...) of laws permitting AS are not morally thin. I describe how AS laws create a different social imaginary for dying in Western cultures, one that competes with the traditional Christian understanding. Legalized AS is inevitable in Western liberal democracies, and I claim that the Church, which transformed the ancient Greco-Roman culture, will once again have to create alternative structures, creating a new Ars moriendi, in order to challenge the modern statecraft for killing. (shrink)

According to Greco’s early explanatory salience contextualism, _S_ knows that _p_ if and only if _S_’s cognitive abilities are the salient factor in a causal explanation of why _S_ holds a true belief rather than a false belief or no belief at all. Greco abandoned this view because it cannot handle fake barn cases and because it proves impossible to analyze knowledge in terms of a quantitative characterization of explanatory salience. The paper argues that the core idea of (...) explanatory salience contextualism could have been saved if only the causal notion of explanation had been replaced by an abductive notion. (shrink)

Après une première présentation de la vaisselle en faïence du Musée gréco-romain d'Alexandrie (BCH 117 [1993], p. 565-602), nous étudions ici, à travers une sélection d'objets inédits, la petite plastique en faïence de style et de thèmes grecs ou gréco- égyptiens. Cette dernière offre un bon exemple de l'adaptation d'une technique traditionnelle à un nouveau répertoire iconographique et permet, par l'examen des contextes de découverte, d'apporter une contribution aux études sur les pratiques religieuses dans l'Egypte gréco-romaine.

This book offers a welcome synthesis of what we may tentatively label as ancient Greek conceptions regarding the world after death. It assumes a dual methodological perspective, that of historical anthropology and that of the history of religions. It is aimed at a general reader, especially Italian (e.g., p. 11), but scholars of many disciplines will undoubtedly benefit from the variety of interesting observations and the perspective on the topic it provides. The book opens with an introducti...

"This collection of essays owes its inception to a symposium held in Munich 8-10th September 2003"--P. [i].

Les deux ouvrages collectifs que nous présentons ici constituent une partie seulement des résultats issus de la coordination de deux projets de recherches de longue haleine, localisés respectivement à Paris sous la direction de Nicole Belayche (AnHiMA, 2014–2018) et à l’université de Genève sous la direction de Francesco Massa (de 2015 à 2018). D’autres recherches liées à ces mêmes projets, aboutissant elles aussi à des publications qui feront date, ont porté sur le vocabulaire attesté plus p...

Dealing with fragmentary texts is an unavoidable task for anyone working on the Greco-Roman world with the awareness that only a tiny portion of the texts produced in antiquity has survived the perilous process of transmission. Since the Renaissance, generations of scholars have painstakingly collected and sifted quotations, paraphrases and allusions in later authors and grammatical sources, laying the foundation for our knowledge of large parts of that lost world. More recently a spectacular increase was made possible by the (...) papyrological discoveries. Even so, after centuries of explorations in this field, the evidence provided by the indirect sources and, in particular, by the still partly unpublished troves of medieval lexicographical excerpts and compilations is far from having been exhaustively exploited. (shrink)

A poesia, em seu sentido mais amplo, surge como ponto de partida para todos os conhecimentos acerca do homem e do mundo. Assim, o poeta não é apenas um artista que produz versos, mas o que busca uma intermediação entre o humano e o divino. Este artigo tem como proposta estudar a poesia e a arte de Michelangelo Buonarroti a partir do conceito de “Figura”, definido na obra de Auerbach, analisando o poético na obra do artista italiano a partir de (...) suas relações com o profético. Tanto na pintura dos afrescos da Capela Sistina, quanto na escrita de seus poemas, Michelangelo nos revela a luta do artista para atribuir à obra sentidos transcendentais, transformando a Arte em revelação divina, que exige uma interpretação dos seus leitores. Seguindo essa ideia, o gênio italiano passa a unir figuras pagãs e cristãs, como sibilas greco-romanas e profetas judaico-cristãos, para reler o passado, interpretar o presente e prenunciar o futuro.Palavras-chave: Poesia; Profético; Michelangelo; Auerbach.Poetry, in its broadest sense, emerges as a starting point for all knowledge about man and the world. The poet is not only an artist that writes verses, but one who seeks to intercede between the human and the divine. This article aims at studying the poetry and art of Michelangelo Buonarroti taking the concept of "Figure", as defined in the work of Auerbach, and analyzing the poetic work of the Italian artist and how it relates to prophetic themes. Both in the painting of the frescoes of the Sistine Chapel and in his poems, Michelangelo reveals the battle of the artist to assign a sense of transcendence, transforming Art in a divine revelation, which will require an interpretation of their readers. Grounded on this idea, the Italian genius blends Christian and pagan figures, such as Greco-Romans Sybils and Judeo-Christian prophets, to reread the past, interpret the present and foreshadow the future.Keywords: Poetry; Prophetic; Michelangelo; Auerbach.- DOI: 10.5752/P.2175-5841.2012v10n25p75. (shrink)