Cet article établit que John Toland, né à la fin du xvne siècle, partageait la culture des Irlandais de langue maternelle gaélique. Il met en évidence l'intérêt de J. Toland, tout au long de sa vie, pour la culture et les langues celtes et repère l'influence de celles-ci sur le contenu et la présentation de ses idées peu orthodoxes.

The origin constellations roots back to the human imagination. To overcome the darkness of the night and make it more human all the different images which could have been drawn in the sky by naked eyes looking at the stars were named by using animals and heroes names. In order to understand the way of thinking of the ancient people it is fundamental to refer our studies to the same skies and stars position of their period. This means to be (...) capable to see with our eyes the same nights conditions and stars movements they have seen during their life. On the other side, it is also crucial to understand the way the human brain organize and link the stars in structures called constellations. (shrink)

Warrior cultures throughout history have developed unique codes that restrict their behavior and set them apart from the rest of society. But what possible reason could a warrior have for accepting such restraints? Why should those whose profession can force them into hellish kill-or-be-killed conditions care about such lofty concepts as honor, courage, nobility, duty, and sacrifice? And why should it matter so much to the warriors themselves that they be something more than mere murderers? The Code of the Warrior (...) tackles these timely issues and takes the reader on a tour of warrior cultures and their values, from the ancient Greeks and Romans to the 'barbaric' Vikings and Celts, from legendary chivalric knights to Native American tribesmen, from Chinese warrior monks pursuing enlightenment to Japanese samurai practicing death. Drawing these rich traditions up to the present, the author quests for a code for the warriors of today, as they do battle in asymmetric conflicts against unconventional forces and the scourge of global terrorism. (shrink)

ABSTRACT: Can virtue ethics say anything worthwhile about laws? What would a virtue-ethical account of good laws look like? I argue that a plausible answer to that question can be found in Plato’s parent analogies in the Crito and the Menexenus. I go on to show that the Menexenus gives us a philosophical argument to the effect that laws are just only if they enable citizens to flourish. I then argue that the resulting virtue-ethical account ofjust laws is not viciously (...) paternalistic. Finally, I refute the objection that the virtue-ethical account I am proposing is not distinct from a consequentialist account.RÉSUMÉ: Peut-on construire une théorie de la loi à partir de l’éthique de la vertu? Qu’est ce qu’une bonne loi? Je dis que l’on trouvera une réponse à la question dans l’analogie entre les lois et les parents présentée par Platon dans le Criton et le Ménéxène. Dans §2, je montre que le Ménéxène apporte une défense philosophique de l’argument que les lois sont bonne seulement si elles amènent les citoyens a la vertu.Dans §3, je montre que celte théorie des lois selon la vertu n’est pas outre mesure paternaliste. Dans la dernière section, je réponds a l’objection suivante : que la théorie que je défend n’est ni plus ni moins qu’une théorie conséquentialiste. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

La réutilisation des haches néolithiques (également appelées « celts » ou « pierres de foudre ») comme des amulettes à l’époque romaine est aujourd’hui sous-estimée. En conséquence, la date ancienne des deux petits exemples inscrits du British Museum (BM nos 1* et 504) est maintenant remise en doute, en raison d’une évaluation négative qui découle de l’utilisation insuffisante de comparanda. En comparaison avec le corpus croissant de pierres magiques, les médias de ces deux petites haches (jadéite ou serpentine), leur (...) poli et leur forme semblent en effet suspects et difficiles à évaluer comme gemmes en soi, mais quand on les compare à d’autres haches néolithiques inscrites et anépigraphes trouvées dans sites romains et plus tard, il s’avère que les deux pierres à Londres appartiennent à une catégorie bien définie de « pierres de foudre » réutilisées comme amulettes. (shrink)

Every generation re-writes history in its own way'. Re-writing History applies Collingwood's dictum to a series of topics and themes, some of which have been central to prehistoric and protohistoric archaeology for the past century or more, while some have been triggered by more recent changes in technology or social attitudes. Some issues are highly controversial, like the proposals for the Stonehenge World Heritage sites. Others challenge long-held popular myths, like the deconstruction of the Celts and by extension the (...) Picts. Yet some traditional tenets of scholarship have gone unchallenged for too long, like the classical definition of civilization itself. But why should it matter? Surely it is in the order of things that each generation rejects received wisdom and adopts ideas that are radical or might offend previous generations? Is this not simply symptomatic of healthy and vibrant debate? Or are there grounds for believing that current changes are of a more disquieting character, denying the basic assumptions of rational argument and freedom of enquiry and expression that have been the foundation of western scholarship since the eighteenth century Enlightenment? Re-writing History addresses contemporary concerns about information and its interpretation, including issues of misinformation and airbrushing of politically-incorrect history. Its subject matter is the archaeology of prehistoric and early historic Britain, and the changes witnessed over two centuries and more in the interpretation of the archaeological heritage by changes in the prevailing political and social as well as intellectual climate. Far from being topics of concern only to academics in ivory towers, the way in which seemingly innocuous issues such as cultural diffusion or social reconstruction in the remote past are studied and presented reflects important shifts in contemporary thinking that challenge long-accepted conventions of free speech and debate. (shrink)

The artistic work of photographer Gudio Baselgia focuses on landscapes formed by nature s forces and, more recently, on the sky with the stellar and solar movements and phenomena as we see them from earth. Celestial mechanics have fascinated mankind in all known cultures, the Babylonians and ancient Egyptians as well as the Greek and Celts, the Maya, or the ancient Indians and Chinese. Until the present day we look at the sky and keep being amazed, and try to (...) read what it tells us. Many artists throughout history have been captivated by the spectacle we observe above us day and night. The modern term astrodynamics describes all movements of celestial bodies, in particular the solar system including the moon and other satellites, asteroids and comets, but also movements of stars within a stellar system or galaxy, or of galaxies towards each other. They are well understood today and depicted in coordinate systems and elaborate visualizations. Guido Baselgia s artistic project on astrodynamics and celestial phenomena has no scientific or didactic ambition. His analogue camera is used as a recorder inscribing the movement of stars on the light-sensitive surface of photographic paper. Thus Baselgia s images make traceable the trajectory of celestial bodies invisible to the human eye and show us astounding occurrences of light and shadow. Baselgia has been captivated in particular also by the phenomenon of the umbra, planet earth s shadow thrown into space. It becomes visible occasionally on a clear evening at sunset when a slight mist lies at the horizon: looking in opposite direction to the sun, a dark and sharply marked band of shadow can be seen rising while sun sets behind the observer. But also by recording sunrise and sunset at the polar circle or the tropic, Baselgia visualizes the geometry of celestial mechanics and the concurrence of forces, as well as the miracle of light as such that leaves us awestruck today as much as it did our ancestors. The new book "Guido Baselgia Light Fall" presents 80 outstanding black-and-white images from the artist s Light Fall project taken in Norway, the Tierra del Fuego archipelago in Argentina, in Ecuador, and the Swiss Alps. The brilliant tritone plates are complemented with essays by the German scholar Andrea Gnam and Swiss photography critic Nadine Olonetzky. ". (shrink)

In his widely read earlier dissertation, "Treasury of names and poetic language," the author explained that the structural form of the two-part Germanic first name dates back to a distant Indo-German past. Thus, the Germanic examples (of the type "Wolfram," which means "wolf raven") emerge from composed designations of men in epic poetry, that is, from the poetic vocabulary for princes and warriors. He argues that the same is probably true for a much earlier treasury of names (one that goes (...) back to the 2nd millennium B.C.) as a specific legacy from the Indo-Aryan war chariot culture. From there, it went on to be disseminated to the rest of Indo-Germania, including the Celts and the Germanic peoples. In his new book, the author subjects his theory to testing, revision, and extension. Thus, the volume will be an indispensable resource for name researchers as well as academic experts in medieval and Nordic literature, and for students of the social history of the medieval world. (shrink)

Cet artide présente ľhistoire des institute de ľancienne littérature polonaise et caractérise la spécifité de la méthodologie de recherches sur celte période de la littérature polonaise et caracterise la specifite de la methodologie de recherches sur cette perióde de la littérature polonaise. De plus, ľauteur de cet article donne la revue des manuels de ľhistoire de litterature, consacrés aux siècles passés et montre la place des études sur ľancienne littérature nationale pármi les autres matières universitaires de la filologie polonaise et (...) aussi des sciences suplementaires de ľhistorien de la littérature polonaise. Cet article est achevé par un appel á ľélargissement des connaissances des étudiants dans le domaine de filologie classique. (shrink)

Resonances of Samuel David Luzzatto's characterization of Italian Jewry can be heard in the personal memoirs of Arnaldo Momigliano. Pagan, Jewish, and Christian -these were the three civilizations which dominated Momigliano's life work. Between 1930 and 1934 Momigliano wrote four major works on representative areas of the triple civilizations: one on the Maccabean tradition; two articles on Josephus' defense of Judaism, the Contra Apionem; a presentation of his conception of first century Pharisaic Judaism; and Alien Wisdom, in which he explored (...) the Hellenistic discovery of Jews, Celts, Romans, and Iranians, and Rome's meeting of these cultures. Momigliano's discussions of the ways that Judaism both absorbed GrecoRoman culture and reacted to it should be taken into account when examining the central texts of rabbinic literature, for the Rabbis themselves were conscious that they belonged to the triple civilizations. Through an analysis of the Midrash, it is shown that Momigliano helps us to appreciate some of the characteristics which emunah holds in common with pistis or fides. An example of the way Jews reacted to the imposition of Roman rule is given in their reaction to the imperial cult. (shrink)

Onians' remarkable work of scholarship sought to deal with the very roots of European civilization and thought: the fundamental beliefs about life, mind, body, soul, and human destiny that are embodied in the myths and legends of the ancients. The volume is remains a fascinating collection of ideas and explanations of cultures as diverse as the Greeks and the Norse, the Celts and the Jews, and the Chinese and the Romans.

ποιετ Heyler ' e libris suis scripsit pro S0009838800018528_inline1 says Hertlein. Neither verb looks very satisfactory; Julian probably wrote S0009838800018528_inline2. The Celts tested, or were fabled to test, the legitimacy of children by throwing them into the Rhine; cf. Nonnus, Diunysiaca, xlvi. 54–62.

In his discussion of Roman military institutions Polybius described how the desire for fame might inspire Roman soldiers to heroic feats of bravery, including single combat: τ δ μέγιστον, ο νέοι παρορμνται πρς τ πν πομένειν πρ τν κοινν πραγμάτων χάριν το τυχεν τς συνακολουθούσης τος γαθος τν νδρν εκλείας. πίστιν δ' χει τ λεγόμενον κ τούτων. πολλο μν γρ μονο-μάχησαν κουσίως ωμαίων πρ τς τν λων κρίσεως κτλ. Modern scholars, however, have taken little notice of this remark and some (...) have tried to belittle the importance of single combat at Rome. Thus G. Dumézil alleged that the Romans fought few single combats and that this was significant for their outlook upon war, while R. Bloch described the duels in the seventh book of Livy as ‘un mode de combat absolument étranger à la tradition romaine, mail auquel les Romains ont été contraints par les habitudes et par les défis des Celtes’. W. V. Harris is the only scholar to have understood the importance of monomachy in the Roman Republic, but even he has not assembled all the evidence necessary for an accurate assessment of the phenomenon. This essay is intended to provide a full treatment and thus to make some contribution in a limited but interesting area to our understanding of Roman attitudes to warfare. I have included a list and discussion of all instances of single combat from the Roman Republic which I have discovered and have argued that the custom continued from prehistoric times at least to 45 b.c. (shrink)

Quels sont les secrets pour acquérir des connaissances? Comment optimiser la transmission des savoirs? Comment apprendre? Comment apprendre à apprendre? Comment improviser pour apprendre? Comment apprendre pour improviser? Quels sont les facteurs pertinents qui facilitent les apprentissages? Sur quels licteurs les enseignants, les parents et tous ceux qui désirent apprendre peuvent-ils intervenir pour faciliter les apprentissages? Cet ouvrage répond à toutes ces questions en explorant les nouvelles approches innovantes des sciences de l'éducation relatives aux apprentissages. Il défiait ce qu'est une (...) écologie de l'éducation. Inscrit l'écologie de l'éducation dans un projet anthropologique. Pense les articulations à l'oeuvre entre l'éducation, la langue, la société, la politique et la culture. Analyse les relations qu'entretiennent ceux qui apprennent avec leur environnement. Repère ce qui peut motiver les apprenants à apprendre. Rend compte des bénéfices qu'ils peuvent en retirer. Par des exemples précis et des propositions concrètes et pratiques, Eric Dicharry nous permet de repenser nos relations au savoir et à la connaissance. Pour rédiger celte recherche et obtenir des sources de première main, l'auteur s'est immergé pendant un an dans deux écoles d'improvisation au Pays basque. II ne reste désormais au lecteur qu'à suivre pas à pas l'auteur sur son terrain pour partager avec lui sa quête de connaissance. (shrink)

A contribution to the Common Knowledge symposium on xenophilia, this article examines the travelogue of Mirza Abu Taleb ibn Muhammed Isfahani, the Muslim Indo-Persian scholar, poet, and Lucknow nobleman who sympathized with the Irish during his travels to England and Ireland in 1799–1802. Translated from Persian to English by an Irish scholar working for the British East India Company, Charles Stewart, and published in London in two editions, The Travels of Mirza Abu Taleb Khan records the author's love for the (...) Irish and theirs for him. This mutual xenophilia, the article argues, is politically motivated by Abu Taleb's strong, but mostly tacit, reservations about the English, his imperial patrons. He realigns the relationship between metropole and colony by casting Ireland as the bridgehead of a glorious Islamic-Persianate culture that spread westward, a transcultural fantasy that takes two forms. First, the unconditional hospitality Abu Taleb experiences among his Irish and Anglo-Irish hosts leads him to imagine a linguistic-ethnic kinship between ancient Celts and Persians, recalled in the similarities he sees between a subimperial capital, Dublin, and an Indian Mughal city, Lucknow. Second, in his detailed account of a patriotic performance that he attended in Dublin of the British siege of Seringapatam in 1799, he identifies with the skeptical audience who, he assumes, are self-conscious about this propagandistic medium. (shrink)

" Le monde actuel, celui de la mondialisation et du capitalisme, est te monde juste qu'a voulu la philosophie depuis son commencement avec Socrate et Platon. " Comment l'auteur de cet ouvrage peut-il soutenir pareille thèse? Parce que le monde où nous vivons est celui de la fin de l'histoire. Non pas certes au sens hégélien d'un accomplissement naturel et irrésistible - il y a eu l'Holocauste. Mais au sens où, dans ce monde, le mat foncier de l'homme, sa complaisance (...) inéliminable à l'aliénation, son injustice constitutive, son refus de l'" ex-istence " vers l'autre, sa pulsion de mort, ont été fixés : le mal a été réduit à sa forme minimale - socialement, le capitalisme. Dans cette fin de l'histoire s'établit ta démocratie véritable, celte qui garantit à chacun, parle droit, les conditions pour advenir à son individualité. Une démocratie délivrée de tous démons de démocratie directe et confirmée dans sa vérité de démocratie représentative par l'acceptation résolue du capitalisme. Telles sont les conséquences politiques que doit tirer aujourd'hui ta philosophie, si du moins elle ne se contente pas, avec ta pensée contemporaine depuis Kierkegaard, de poser l'existence ; de surcroît elle pose l'inconscient qui en est le principe. Car ta seule affirmation de l'existence a voué la philosophie à une contradiction radicale incarnée dans ce penseur si problématique qu'est Carl Schmitt. Et elle a débouché, à travers le projet de révolution anticapitaliste, sur tes horreurs du totalitarisme lumineusement décrites par Hannah Arendt. La philosophie ne peut résoudre une telle contradiction qu'en affirmant l'inconscient : cet inconscient créateur par lequel est assumé, autant qu'il est possible, le refus foncier de l'existence - la pulsion de mort. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Normalization and the Welfare StateLadelle McWhorterIn Racism and Sexual Oppression in Anglo-America, I argued that as race was absorbed into biology in the nineteenth century, it was recast from a morphological typology to a function of physiological and evolutionary development (McWhorter 2009b). Racial difference became a sign of developmental difference. Racial groups represented stages of human evolution, and raced individuals were to be disciplined and managed in accordance with (...) developmental norms.Twentieth-century race was therefore a category and tool of normalization; to be raced was to be located at a particular point along a developmental curve. Some races were thought to be more or less arrested in their development, while others were merely retarded, and theorists disagreed at times about which were which. But they all agreed that the most highly developed race was the Nordic or the Anglo-Saxon. Anglo-Saxons were the norm for modern human beings— anatomically, physiologically, intellectually, and morally. There were other white races whose status was debated (Mediterraneans and Ashkenazi Jews, for example), and there were disputes over the evolutionary status of Chinese, Hindus, and Mexicans. But most theorists agreed that at the very bottom of the developmental scale we should place Celts, Negroes, and American Indians. These peoples were savages, primitives. They should be trained to the extent possible to contribute to the society that had already superseded them, but their proper destiny was to pass away into extinction as humanity advanced.These evolutionary stragglers, along with the evolutionary throwbacks that appeared sometimes among whites, were considered dangerous for two main reasons. First, a great many of them were expensive. They were shiftless, often incompetent, and frequently lawless. Because of them, it was necessary to [End Page 39] maintain police forces, prisons, poorhouses, and asylums. They were a drain on the economic advance of society, which affected its educational and technological advance and ultimately its evolutionary advance as well. Second, because they had primitive sexual urges unrestrained by reason as well as heritable defects and diseases, they threatened the bloodlines of more advanced human beings. In short, they posed a risk for the ongoing evolutionary advancement of the entire Human Race. To protect the Race, it was necessary to contain these primitives, savages, and throwbacks and to reduce their numbers through careful management of their sexuality. This, I argued in the book, was racism’s cutting edge in the early twentieth century.Since publishing the book, I have done some work on the changes in practices of racism in the wake of the Biological Synthesis—that is, the unification of biology and genetics that occurred in the 1930s through the efforts of renowned scientists such as Theodosius Dobzhansky and Ernst Mayr (McWhorter 2010a, 2010b, 2010c). As I discussed in that work, by 1950, evolutionary biology was less a study of species development than it was a study of the effects of evolutionary forces acting on and within populations. Correlatively, racial practices shifted toward management of statistically delineated populations or ethnic groups. Theorists and policymakers recognized that not all members of a given population have the same genes, meaning that old-style racism (which assumed, for example, that all Negroes were stupid) was false; some Negroes might be quite brilliant, in fact. It was not The Negro who was stupid but the population of Negroes in the aggregate that was measurably stupider than the population of Anglo-Saxons. Accordingly, normalization now occurred at the level of the population. Disciplinary practices designed for cultivating the capacities of groups of individuals were altered or replaced to focus on groups as groups, as aggregates. The point was to shift the statistical norm of the population rather than to alter the bodies or behavior of each and every individual. I have argued elsewhere (McWhorter 2009a, 5) that this merger of disciplinary normalization and population management constitutes the full flowering of what Foucault calls biopower (Foucault 1978, 140).When Lisa Guenther invited me to speak at the plenary on “Re-thinking Whiteness” that took place at the fifth annual meeting of philoSOPHIA at Vanderbilt University, she explained that although many presenters offer polished papers, it has been a... (shrink)

Constructing Race on the Borders of Europe investigates the visual imagery (in painting, photography, prints, film, and design) of race construction primarily in Scandinavia and the empires of Austro-Hungary, Germany, and Russia at a time when the disciplines of ethnography and anthropology were expanding and publications on race were debating competing theories of biological, geographic, linguistic, and cultural determinants. These regions, while on the periphery of continental Europe, largely marginalized in the scholarship of nineteenth-century art history, and ignored by Edward (...) Said (Orientalism 1978), have been central locations for theorizing white identity and for containing diverse ethnic populations that have generated substantive ethnographic study and regional conflicts since the eighteenth century. This anthology explores art that engaged with ethnography and anthropology to shape visual representations of subordinate ethnic populations and material cultures, both indigenous (Roma, Sámi, Inuit, and Celts) and migrant or colonial (Muslims and Blacks), chiefly between 1850 and 1930, but extending into the early twenty-first century. The essays in this book contribute to postcolonial research by documenting colonial-style treatment of minority groups and by seeking to qualify binary systems through explorations of anomalies, complexities, and contradictions that emerge when seen from the perspective of the fine and applied arts. This book presents a range of different artistic voices that responded to ethnographic and anthropological information by producing images or objects that adopted, altered, or critiqued that information. The authors seek to uncover instances of connections and variability, to establish the fabricated nature of ethnic identity, and to challenge the certainties of racial categorization. (shrink)

While historians have tended to accord the Celts a place of minor significance in comparison to the Romans, The Celts firmly aligns the Celtic peoples as the primary European precedent to the Greco-Roman hegemony, restoring this culture to its true importance in the development of European civilization. An expert in Celtic studies, Markale regards myth as a branch of history, and explores mythological material to reveal the culture that gave rise to it. The alternative historical vision that emerges (...) is both convincing and exciting. - One of the most comprehensive treatments of Celtic civilization ever written. - A cornerstone of Western civilization and the major source of its social, political, and literary values, Celtic civilization occupied the whole of Western Europe for more than a millennium. - Unlike the Middle Eastern forerunners of the Greco-Roman world, Celtic civilization is still alive today. (shrink)

For some time, there has been reason for imagining that we live in neo-Victorian times. We are awash in restless evangelicals, profligate of stern and apocalyptic advice. We have had praying leaders who imagine that foreigners, usually with beards, require reform and invasion. Celts threaten secession and the Union is extolled. There is much talk of families, education, and the anxieties of class. Our novels grow long and vexed, and even have plots. Historians seek the common reader and write (...) meandering narratives, full of metaphor, which may be purchased at railway stations. (shrink)

The difficulty of this little poem is shown by the facts that Ausonius had no idea what it was about, and that Westendorp Boerma's commentary takes 22 pages to explicate its five lines. The latter relies on Quintilian 8.3.27ff., who quotes the poem, saying that Vergil wrote it to attack a certain Cimber for his taste in obsolete words. This is no doubt the Annius Cimber whom Augustus ridiculed when reprimanding Mark Antony for a similar foible and who, as an (...) antiquarius is contrasted with the Asiatici oratores. For convenience, I have kept Westendorp Boerma's text, but I take issue with his interpretation on two points. 4 tau Gallicum: since Bücheler tentatively suggested it in RhM 38 , 508, the standard explanation of this has been to point out that a number of Latin inscriptions in Gaul use a Greek θ or else a barred D , to represent what appears to have been a dental fricative elsewhere indicated in Latin by -sd- or -st-. Thus Frank, AJP 56 , 255, quotes HYÐRITANVS for what is elsewhere spelled Thysdritanus, and says that ‘Ð clearly represents the best that one Celt could do with sd’. On the basis of this supposed Gallic incompetence, Frank went on to see the repeated -st- sounds in the poem as some sort of joke on the orator's inability to pronounce this sound. His view seems to have been generally accepted. There seems to me a profound error in this viewpoint which shows cultural imperialism at its worst. First, let us note that none of the examples of alleged substitution are in Latin words; they are native names for people or places or things. The Latin names by which we know some of them are only the approximation of foreigners, and not in any sense the ‘correct’ names of those people or places. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The “Magic” of Music:Archaic Dreams in Romantic Aesthetics and an Education in AestheticsAlexandra Kertz-WelzelO, then I close my eyes to all the strife of the world—and withdraw quietly into the land of music, as into the land of belief, where all our doubts and our sufferings are lost in a resounding sea....1Music serves many different functions in human life, accompanying everyday activities such as working, shopping, or watching TV, (...) as well as creating an individual world of sounds in which to relax, to enjoy life, or just to escape into one's dreams. Tia DeNora describes this personal use of music as a technology for the self and quotes Mireille, a contract cleaner, who thinks that "everybody should listen to music. It helps you to be calm, relaxed, to see your life differently."2This desire to change minds or moods and perhaps to be personally transformed by music also motivates adolescents to listen to their music giving them a strong feeling of self-identity and helping to relieve boredom, get through difficult times, or reduce tension.3 Although this obviously everyday use of music is usually different from the life-changing strong experiences with music which Robert Panzarella4 or Alf Gabrielsson5 investigate in their research, it nevertheless shows the natural human desire to use music to transform emotions or experience life more intensively. Certainly, adolescents do have different kinds [End Page 77] of intensive and even ecstatic experiences with music; for example, while attending a rock concert with its pseudo-religious implications, or a Friday night dance party with friends, or while making music in a band. Gabrielsson quotes the description of a young woman, attending an outdoor concert of Prince:One feels so free somehow. At concerts one can dance, jump, scream and sing as much as one wants. You are like a part of it all, not just a spectator. Throughout the whole concert the audience was in total ecstasy. It was only one thing that mattered: the music! You are filled with the wonderful feeling that everything is all right, that you are living only for what is happening 'right now.' You are in a way 'intoxicated with joy."... You don't think about what you are doing. You do what you feel like, without even thinking about it.6This desire for intensive or even ecstatic experiences through music is not only an aspect of individual life, it is also an important issue in the history of music and aesthetics from ancient times. One origin of music and art can be found in the relationship of music with religion and ritual, using sound's emotional and ecstatic power to connect the world of human beings and the sacred. Music as magic and a means of ecstasy was a frequent conceptualization in ancient Egypt, as well as in Greece, in the rites of ancient Celts and early Christians, and also in non-Western religions today.7 Priests or shamans among the Australian Aborigines, Native Americans, and West-African tribes use the emotional power of music to evoke trance in their contemporary practices.Unfortunately, the aesthetics of Western European art music, especially since the eighteenth century, tends to eliminate this sensual "magic"8 of music only to replace an ecstatic way of experiencing music with a more intellectual approach. The idea of absolute music or the aesthetics of formalism attempts to establish a "pure" approach to listening without feeling, imagination, or sensuality. It is a claim to elitism which might be one reason why it is difficult for students to be affected by Western European art music, since it appears to be far away from their own world of intensive music experience. Not only the way of listening and performing Western European art music, but also the music itself may prevent students from further involvement in "classical" music and having the kind of intensive experiences their "own" music offers them. If a goal of music education is not only to involve students in art music but also to deepen and enhance their lives through aesthetic experiences, it may be reasonable to start with their musical experiences and to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ossian and the Invention of Textual HistoryKristine Louise HaugenIt is now controversial to call James Macpherson a forger or the poems of Ossian a hoax. 1 Encouraged by Derick Thomson’s 1952 demonstration that Macpherson’s Ossian indeed echoes authentic Gaelic verse, 2 a group of critics has undertaken to “rehabilitate” Macpherson, not least through a new critical edition of Ossian’s poems and related texts. 3 The edition makes it easier (...) than before to encounter Ossian directly:Morna, thou fairest of women, daughter of Cormac-Carbre? [sic] why in the circle of stones, in the cave of the rock, alone? The stream murmureth hoarsely. The blast groaneth in the aged tree. The lake is troubled before thee.... But thou art like snow on the heath. Thy hair like a thin cloud of gold on the top of Cromleach.... Thy arms, as two white pillars in the hall of Fingal. 4The authentic source of this passage seems to be the eighteenth-century commonplace that the savage and uneducated delight in figurative language, especially similes and metaphors—a commonplace enunciated often in the writings [End Page 309] of Hugh Blair, a literary critic deeply interested in Macpherson’s Ossianic productions. 5 As Harold Weinbrot and others suggest, the Ossian poems were celebrated largely because they confirmed readers’ most picturesque preconceptions about the “infancy of mankind.” 6There was room for disagreement. Many influential litterati were convinced of the poems’ antiquity, among them Goethe, Herder, Cesarotti, and a host of Scottish intellectuals. 7 But there were also detractors, mainly English—for example, Dr. Johnson and Edward Gibbon—although David Hume soon joined the skeptics, and the Scotsman Malcolm Laing issued the most crushing attack in the exchange several decades after Ossian’s first appearance in 1760. 8 The Ossian poems served a potent mixture of scholarly and political concerns, of which some were new but some were venerable. With a subtle but important shift in balance, the same mixture underlay the willingness of the most prominent eighteenth-century critics to discredit problematic texts and textual myths, even at the cost of an apparent reduction in historical knowledge. 9 For all parties Macpherson’s Ossian invited not only aesthetic delectation, but sustained thought about the relationship between early poetry and history and the value of early texts for reconstructing the past. [End Page 310]The question of British origins had preoccupied seventeenth-century antiquaries for a number of reasons, including Polydore Vergil’s unflattering Anglica Historia (first published 1546). 10 In the campaign to establish respectable national roots the Celtic druids had quickly become a kind of favorite example; they were presented early and often as heroes of British culture. The druids and their associates the bards had been described in their French setting by classical authors; William Camden, John Selden, and others transferred them easily to Celtic Britain. It was then straightforward to suggest further that the British Celts were the first discoverers of writing and philosophy, or at least discoverers concurrent with the ancient Hebrews, or both, this theory having been elaborated for the French Celts through Annius of Viterbo’s historical forgeries of 1498 and Annius’s French partisans. 11In fact this theory placed England at a disadvantage as Scotland, Ireland, and Wales had the more convincing joint claim to Celtic ancestry. Individual claims for Scotland and Ireland were frequently heard as well. The text most relevant to Ossian was the deist John Toland’s 1726 history of the druids, in which Toland both satirized the eighteenth-century clergy and argued that the ancient Celts of France and Scotland were colonists from Ireland—the original home of druidism, learning, and Toland. 12 In Toland’s version the theory made much of certain unpublished Irish manuscripts, supposedly dating from Cicero’s day and written in the “native” Irish alphabet. St. Patrick had burned hundreds of druidical religious books when he arrived in Ireland—proof that the Celts had a written language—but the bardic histories, couched in rugged verse, had escaped the evangelist’s flames. 13 Clearly, any respectable reply would need to draw on ancient manuscripts too.Even for readers unfamiliar with Toland, Macpherson’s texts... (shrink)

The essays in this collection, many originally presented at a 2008 colloquium on Celtic Cosmology and the Power of Words, aim to examine the worldviews held by the Celtic peoples, particularly the Gaelic (Irish and Scottish) perspectives. Texts and inscriptions, some of them pre-Christian, in Celtic languages and in Celtic Latin provide the sources for the worldviews under study. This area of research is also linked to that of the power of words, which refers to human belief in powerful speech (...) acts. Naming and story-telling processes convey knowledge of the cosmos; this knowledge is connected to the landscape and its roads, rivers, mountains and hills. Cosmology is a description of the order and structure of the world as perceived by human beings, and its study is a study of layers – in the earth, in the language and in the tales. (shrink)

Name der Zeitschrift: Klio Jahrgang: 99 Heft: 2 Seiten: 513-527.