The last two and a half decades has seen the emergence of philosophical counseling. While it is practiced in many countries comparatively little has been said on its general character. In this paper I will seek to understand philosophical counseling by exploring its points of convergence to and deviation from its complimentary parts – philosophy and counseling. The practical and applied orientation of philosophical counseling seems worlds apart from what many consider to exemplify philosophy – theoretical, intellectual and abstract concern (...) with foundational questions. Given this it is worth exploring how philosophical counseling coincides with what is understood in academic circles as philosophy. On the other hand, the field of counseling has largely been the domain of psychology. Given the influence and orientation of the practice it would seem likely that philosophical counseling would be significantly different from the common conception of psychological counseling, but in what ways? Understanding how the practice lies in relation to the discipline of philosophy and psychological counseling will go some way to grasping its nature. (shrink)

Chariton’s novel, Chaereas and Callirhoe, is intensely interested not only in the emotional experience of the protagonists but also in the emotional effect the narrative has on readers. Among the many emotions depicted within the text, one stands out for its architectonic function: jealousy. Jealousy articulates the plot and propels it forward. Jealousy is also represented as a fundamentally “readerly” emotion: scenes of reading focus on the potential of written texts to stir jealous emotions. Similarly, scenes of embedded narration (...) focus on the jealous reactions of narratees. The plot achieves closure when Chaereas learns to manage his jealousy as narratee and narrator. His experience, however, has implications also for Chariton and his readers. The text’s representation of jealousy as a narrative and textual force speaks both to the experience of writing in a culture that prizes the imitation of prestigious models and to the experience of reading a text that self-consciously hybridizes those models. (shrink)

In this article I make three interrelated claims about Chariton's use of ἀγαθὸς δαίμων in connection with the protagonist Chaereas, who is believed to be dead. First, that it reflects a funerary formula peculiar to inscriptions from Caria, and therefore potentially supports the author's declaration to be a native of Aphrodisias in Caria; second, that the use of this funerary formula suggests an awareness of events subsequent to the death of Nero (especially the series of false Neros), which has (...) ramifications for the novel's date, use of imperial history, and ideological thrust; and third, that numismatic evidence from Alexandria supports an association between Chaereas and Nero. (shrink)

The publication of Dr. Warren E. Blake's edition of the romance of Chariton has at last made it possible to know what the tradition of the text amounts to and form some opinion of its principal weaknesses. That these include lacunae will be obvious to anyone who even glances through his apparatus criticus; I think there are at least three which neither he nor any of the former editors has noted. The supplements I propose are of course mere examples (...) of how they might be filled; their existence seems pretty certain, but no more than the general sense of what is missing is likely to be got unless some new papyrus or other unexpected find puts us in possession of more evidence. (shrink)

Conjectures to Chariton of Aphrodisias. Legendum: 1.1.12-13 νυμφαγωγη̃σαι, 1.1.15 άπέλιπεν, 1.1.15 bis προσδραμών αύτη̃, 1.7.1 έκ Λυκίας, 1.7.6 ενθεμένους, 2.4.3 ὓπνον μέν οὐκ έλάμβανεν, 2.4.7 τις, 2.5.7 „αἰτου̃μαι..., 3.2.3 τις, 3.6.7 τις, 3.9.2 ὥσπερ έμμανής γενομένη, στήσασα, 4.3.4-5,,Χαιρέαν λέγεις τὸν φίλον;",, " εἶπεν ό Πολύχαρμος, 4.6.7 οὖν καί σκότος.

This article explores Herodian's History of the Roman Empire alongside Chariton's novel Callirhoe with an eye to how the minds of collective entities are represented and function in the two narratives. It argues that Chariton, unlike Herodian, elaborates on the diversity of emotions that characterizes a specific collective experience and has groups use direct speech throughout. These choices add vividness to the narrative and intensify the fictional sensationalism and dramatic character of the novel. It also shows that, whereas (...) collectives in Chariton's narrative are primarily designed to highlight a specific characteristic of a hero, dramatize an event and enhance suspense, in Herodian's historiography they are an integral part of the plot and central to his historical analysis of contemporary political and social world. This article offers a new analytical tool geared towards the development of a poetics of the collective in ancient narrative as well as a poetics of fictional and factual narration in antiquity, and advances our understanding of the complex relationship between ancient historiography and novelistic writing. (shrink)

There has been little research on the vocabulary of the Greek novelists. Gasda studied that of Chariton in the last century. He compared some of his terms with those of other authors and he concluded he should be placed in the sixth century A.D. Then Schmid considered that Chariton's language was not Atticist, and dated his novel in the second century or beginning of the third. In 1973 Chariton's language was studied by Papanikolaou. His research dealt above (...) all with several syntactic aspects and the use of some vocabulary, which led him to conclude that this language was closer to the koiné than that of the other novelists. But Papanikolaou went further in his conclusions: finding no trace of Atticism in Chariton, he considered him a pre-Atticist writer and, using extra-linguistic data, such as the citing of the Seres, the Chinese , placed him in the second half of the first century B.C. This chronology has been accepted by some, but already Giangrande has observed that this lack of Atticisms could have been intentional, in which case that date would be questionable. (shrink)

The new edition of Chariton's novel Chaireas and Callirhoe by Mr. Warren E. Blake has a twofold merit: it is founded on a new and accurate collation of the only extant manuscript, a Florentinus, and it gives a full collection of the conjectures in and since the editio princeps by D'Orville . The new text has already provoked some suggestions by Prof. H. J. Rose in C.Q. xxxiii, 1939, 30, but I should like to propose alterations in some more (...) passages. (shrink)

Après la muthologia catalogique ou diégétique dans les romans sophistiques de Tatius et Longus, cette étude porte sur katalegein chez Tatius et Héliodore, puis sur les muthoi en catalogue chez Chariton et Héliodore, avant d’observer les Éphésiaques de Xénophon, en tant que catalogue ou résumé. Paradoxalement, les deux romans méta-fictionnels, qui explicitent leur énonciation mythologique en catalogue dès le préambule, Tatius et Longus, rejoignent le roman le plus linéaire, celui de Xénophon, dont la structure en catalogue est affirmée, sans (...) désignation explicite, à la fin du récit.Fictional Forms and Functions of Muthologia: Catalogue Narrations and Summaries in the Ancient Greek Novels. After catalogic or diegetic muthologia in the sophistic novels of Tatius and Longus, this study compares the uses of katalegein in Tatius and Heliodor and considers the muthoi catalogue in Chariton and Heliodor, before examining Xenophon’s Ephesiacs as a catalogue or summary. The paradox is that the two meta-fictional novels, by Tatius and Longus, which make explicit their catalogical structure from the introduction onwards, are similar to the most linear one, by Xenophon, which exhibits its catalogical structure, without naming it, at the end. (shrink)

Dans cet ouvrage, qui fut à l'origine une thèse universitaire, « Tout a été fait pour faciliter la lecture par les non-hellénistes » déclare l'auteure dans l'introduction (p. 17). Pari tenu! Cette étude, très savante, très structurée, écrite dans une langue limpide et élégante est d'une lecture si facile et si plaisante qu'elle vous donne la sensation fort agréable de partager son intelligence. Le corpus très homogène de Sophie Lalanne est composé de cinq romans, Callirhoé de Chariton d'Aphr...

Originally pulished in 2000, In Search of First Century Christianity contends that Christianity in the first century had no founder but rather evolved as a convergence of many forces: political disillusionment, cultural mutations, religious and theological motifs, psychosocial losses and new expectations. Moving on from an examination of the foundations of historical and literary criticism in the Renaissance, and a detailed study of two writers in antiquity, Thucydides and Chariton, to examine writings in the period between Plato and the (...) Gospel of Mark, the authors then explore the writing of Paul and the stories told in the Gospels. With the early Christians drawing from both Greek and Hebrew sources, Barnhart and Kraeger propose that, like Plato, Paul and other Christians generated an "anti-tragic theatre" gospel with the Jesus figure being the creation of a culture steeped in an anthropomorphic, metaphysical view of the world. (shrink)

After I had put myself the task of investigating the correctness of the results obtained by Heibges concerning the clausulae of Chariton, I decided to determine the frequency in which the different rhythmical forms appear in the authors of non-rhythmical works. For that purpose I investigated the prose works of Thucydides and Plutarch as carefully and in as specified a form as was possible. This I did with the intention to compare the percentages with those of Heibges. In this (...) comparison, however, I came to the conclusion that the figures for Thucydides and Plutarch differed considerably, and that in such a way that certain conclusions could be drawn concerning the manner in which Plutarch constructed his clausulae according to fixed rules. (shrink)

After I had put myself the task of investigating the correctness of the results obtained by Heibges concerning the clausulae of Chariton, I decided to determine the frequency in which the different rhythmical forms appear in the authors of non-rhythmical works. For that purpose I investigated the prose works of Thucydides and Plutarch as carefully and in as specified a form as was possible. This I did with the intention to compare the percentages with those of Heibges. In this (...) comparison, however, I came to the conclusion that the figures for Thucydides and Plutarch differed considerably, and that in such a way that certain conclusions could be drawn concerning the manner in which Plutarch constructed his clausulae according to fixed rules. (shrink)