Dans l’Antiquité romaine, la musique participe à sa façon à la construction du genre en introduisant une division sexuée des notes et des instruments de musique dans la théorie musicale et un partage des sexes lors de la pratique musicale. La question du costume du musicien et du travestissement offre aussi une autre occasion d’explorer le thème du genre. Êtres ambivalents par excellence, le musicien et le danseur se situent parfois en marge du monde masculin à cause de leur allure, (...) de leur habit et de la nature même de leur métier. L’histoire emblématique d’Achille caché dans le gynécée à Skyros ou celle, réelle, du noble Clodius travesti en femme utilisant tous deux les apparences de la musicienne en sont les manifestations les plus abouties qui servent d’exempla pour les Anciens dans la définition des frontières entre féminité et virilité. (shrink)

This paper examines the role of performance in law and music as a structural means of their self-programming construction. Music and law are considered as parallel social practices or performative doings. The paper begins with a critical analysis of the special aesthetical features of present-day juridical practice as exemplified by legal trial and legal expertise. Drawing upon reflections on the modern discourse on aesthetics and art, the article then examines in greater detail the specific traits of performance in law and (...) jazz music. Performative processes move from representation to presentation, from a preoccupation with rules and controlling to induced self-programming. Both law and jazz regard the unknown future as a resource for present decisions by “inventing” new possibilities; both require, expand and promote a responsibility that does not follow from statutes nor can be expressed in a code of ethics. Finally, the article addresses the performance situation in jazz. Jazz being polyphonic and improvisational by nature, improvisation makes explicit tradition by staging the context dependency of its performance. It is mediated by the knowledge, the operational history and the communication of the participants. Jazz is an exercise in the possibilities of an “aesthetics of imperfection” which can open up new ways of seeing law and politics. (shrink)

'Her mouth was like the bloom of a rose, when the rose begins to part the lips of its petals. As soon as I saw, I was done for...All my dreams were of Leucippe.' Achilles Tatius' Leucippe and Clitophon is the most bizarre and risqué of the five 'Greek novels' of idealized love between boy and girl that survive from the period of the Roman empire. Stretching the capacity of the genre to its limits, Achilles' narrative covers adultery, violence, (...) evisceration, pederasty, virginity-testing, and an improbable happy ending. Ingenious and sophisticated in conception, Leucippe and Clitophon is in execution at once subtle, stylish, moving, brash, tasteless, and obscene. This new translation aims to capture Achilles' writing in all its exuberant variety. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

In his Romanes Lecture of 1907, Lord Curzon emphasized the overwhelming influence of “natural” and “artificial” frontiers in the political history of the modern world. As Barry Smith has shown, the same could be said, more generally, of the natural and artificial boundaries that are at work in articulating every aspect of the reality with which we have to deal, not only in the world of geography, but the world of human experience at large. Moreover, once the natural/artificial distinction has (...) been recognized, it can be drawn across the board: not merely in relation to boundaries but also in relation to those entities that may be said to have boundaries. If something enjoys a natural boundary, its identity and survival conditions do not depend on us; it is a bona fide, mind-independent entity of its own. By contrast, if its boundary is artificial, then the entity itself is to some degree a fiat entity, a product of our worldmaking. Here I am interested in limit case: what if, pace Curzon and pace Smith, all entities turned out to be of the latter sort? (shrink)

Introduction The starting point for our reflections upon the musical work will be the unsystematized convictions that we encounter in daily life in our communion with musical works before we succumb to one particular theory or another.

Paul Goguen once said that art is either plagiarism or revolution. That is certainly true of music. From pop to jazz to classical music, there’s a long history of borrowing, lifting, and stealing from other composers, along with other ways of building on their artistic contributions. Here I try to put some order in the complex picture that emerges from such a history, with an eye to the criteria—if any—that underlie the complex ways in which we compare, identify, and categorize (...) musical works. (shrink)

This article focuses on the issue of social support received by students of music schools in the context of their musical achievements. The theoretical part of this article contains the characteristics of factors related to the musical achievements of students; the support they receive from their environment is essential for their success in the process of musical education and their subsequent artistic career, in addition to their musical abilities and traits of personality. The research part is devoted to detailed analysis (...) of the support level received by music school students and its correlation to their level of musical achievement. Social support is analysed with a view to its structure, distinguishing the following kinds of support: emotional, evaluative, informative and instrumental received from people who are significant to the music school student and indicates the essential presence of support in the process of musical achievement. Moreover, as part of the presentation of the study, the authors introduce their original tool for measuring social support tailored to the realities of music schools - the Scale of Social Support of the Students of Music Schools. This tool may be applied in the work of educational psychologists and teachers in music schools. (shrink)

Este artículo se centra en la música en el entorno Fluxus entendida como creación artística de aproximación a la conquista del espacio y de superación de los límites sonoros, en aras a potenciar su expresión a través de la acción del intérprete y la utilización de artefactos. El resultado de todo ello fue un repertorio de imágenes de una gran potencia connotativa en el panorama artístico de los años sesenta.

The paper provides an overview of the early considerations regarding the phenomenon of plagiarism – from Greco-Roman antiquity to the time when a thorough study examining literary theft in its textual, legal, and moral manifestations was printed, i. e. “Philosophical Dissertation on Literary Plagiarism” by Jacob Thomasius. Although the issue of plagiarism was very vital in ancient times, all the oldest considerations concerning the appropriation of other people’s texts were essentially pragmatic moves or reactions rather than purposeful theoretical interpretations (...) of the subject. However, in addition to the situational grounds of the accusation, they can reveal certain principles that, according to estimations of the time, could prevent or refute allegations of plagiarism. It was enough if the author stated, albeit generally but clearly, that the fragments of other people’s texts, whether altered or not, were used. It was also acceptable if the reader believed that the author considered his borrowings recognizable to educated readers. Another reason for the elimination of possible accusations was the factor of competition – the author’s desire to adapt the achievements of another cultural environment in his own one, significantly improving them. The medieval and early modern materials generally testify to the relevance of ancient views and reveal some new problems. This is, in particular, the incompatibility of new more formalized ideas about authorship and traditional educational practices, which encouraged the uncontrolled use of others’ texts. Some authors also emphasized that plagiarism was an obstacle to the development of science. The paper ends with examples that show how European ideas about the rules of using others’ writings may help interpret the writing methods of the early modern Ukrainian authors, including philosophers. (shrink)

This study examines a recurrent scenario in Roman poetry of the first-person genres: the separation of the poet from his writing tablets. Catullus' tablets are stolen ; Propertius' are lost ; Ovid's are consigned to disuse and decay by their disappointed owner. Martial, who does not reproduce the specific narrative of loss, nonetheless engages with the tradition of lost tablets from within the fiction of festive gift-exchange in his Apophoreta : rather than losing or rejecting the tablets, he gives (...) them away to guests/readers at his Saturnalian party. I argue that the representation of writing tablets and their loss is involved in the production of authorial presence. The scene of lost tablets demonstrates how the poet retains the capacity for poetic speech even when deprived of the aid of his material medium. The ostensibly accidental and sometimes lamented loss of the poet's tablets thus contributes to a sophisticated strategy of authorial self-representation. The tablets do not so much stand for the literary text as provide a focus for metapoetic concerns with voice and writing, author and text, presence and absence, immortal ingenium and expendable materia. Examination of the shifting representation of writing tablets from Catullus to Martial will provide insight into the invention of the Roman poetic author. (shrink)

John Bintliff et alii Le Tanagra Project : recherches dans une cité antique de Béotie et son territoire (2000-2002) p.541-606 Cet article présente les résultats préliminaires du Leiden-Ljubljana Field Project dans la cité antique de Tanagra, en Béotie orientale, et dans ses environs immédiats. Les travaux ont débuté en 1999, avec une vaste équipe de chercheurs et d'étudiants des Pays-Bas, de Belgique, de Slovénie et de Grèce, sous la direction de John Bintliff et Bozidar Slapsak et la sous-direction de Kostas (...) Sbonias. Les différents spécialistes présentent ici leur travail en détail, développant les rapports des deux premières campagnes publiés dans Pharos, le périodique annuel de l'Institut néerlandais d'Athènes. (shrink)

This paper aims to reexamine how traditions about the spolia opima developed with special emphasis on two crucial phases of their evolution, the time of Marcus Claudius Marcellus' dedication in 222 BC and the early years of Augustus' principate, following the restoration of the temple of Jupiter Feretrius on the Capitol. In particular, I will argue that Marcellus invented the spolia opima, that his feat shaped the entire tradition about such dedications, and that this tradition was later enhanced and "reinvented" (...) by Augustus, probably following upon renewed interest under Julius Caesar. Through an evaluation of the surviving evidence about the three canonical dedicators the possibility is explored that the spolia opima, rather than being an archaic ritual dating back to the regal period, represent a tradition invented by specific individuals at certain well-defined moments in Roman history. Augustus himself, beginning while he was still a child, was influenced by traditions about the career and achievements of M. Claudius Marcellus. Augustus' interest in Marcellus helps to explain his special focus on the spolia opima as a significant and hallowed Roman tradition. Consequently, in the late first century B.C., spolia opima were associated both with old-fashioned "republican" aspirations and also with the iconography and self-definition of the new ruling family. In this context other leading Romans of the age considered dedicating such spolia, notably M. Licinius Crassus, grandson of the triumvir, and the elder Drusus, brother of Tiberius. In addition, Virgil included the spolia opima as a recurring theme in the second half of the Aeneid. The poem reaches its climax when Aeneas kills his rival Italian leader Turnus in a duel which would have entitled him to dedicate spolia opima. (shrink)

This anthology of philosophical texts by Greek and Roman authors brings together works from the late fifth century BC to the sixth century AD that comment on major aesthetic issues such as the perception of beauty and harmony in music and the visual arts, structure and style in literature, and aesthetic judgement. It includes important texts by Plato and Aristotle on the status and the role of the arts in society and in education, and Longinus' reflections on the sublime (...) in literature, in addition to less well-known writings by Philodemus, Cicero, Seneca, Plotinus, Augustine and Proclus. Most of the texts have been newly translated for this volume, and some are available in English for the first time. A detailed introduction traces the development of classical aesthetics from its roots in Platonism and Aristotelianism to its ultimate form in late Antiquity. (shrink)

Other Greek novels open in poleis, before swiftly shunting their protagonists out of them and into the adventure world. Why does Achilles Tatius' Leucippe and Clitophon open in a house , and stay there for almost one quarter of the novel? This article explores the cultural, psychological, and metaliterary role of the house in Achilles, reading it as a site of conflict between the dominant, patriarchal ideology of the father and the subversive intent of the young lovers. If the house (...) principally embodies the authoritarian will of the father to order and control, it nevertheless provides the lovers with opportunities to re-encode space opportunistically as erotic. The house cannot be reconstructed archaeologically , but it is nevertheless clearly divided into different qualitative zones—diningroom, bedrooms, garden—each of which has its own psychosocial and emotional texture, its own challenges, and its own resources. Achilles' modelling of the house may reflect Roman ideas of domestic aristocratic display, and perhaps even the influence of Roman literature. (shrink)

Summary Among the whole burden of the written sources dealing with the urban appearance of Ptolemaic and Roman Alexandria, five or six ancient authors give us precious information which could finally offer a lead to the reconstruction of the monumental center of Alexandria: 1) Strabo, 2) Diodorus, 3) Zenobius, 4) Achilles Tatius, 5) Pseudo-Libanius and 6) Pseudo-Callisthenes. Nowadays, the written testimonia concerning the historical topography of Alexandria are severely withstanding to a hypercritical treatment, to a disapproval instead of a (...) reappraisal.Tkazcow 2013, 687: The reconstruction of the topography of the city in the Ptolemaic and Early Roman Periods was, for a long time, based exclusively on Strabo's description ; the critic is moved against Adriani 1966 and Fraser 1972, 13–34; McKenzie 2007. Yet, there is no other way to solve the puzzle of the monumental center of Ptolemaic Alexandria, but to explain the thinking behind what the ancient authors, principally Strabo, may have seen in Alexandria as eyewitnesses. (shrink)

This paper wants to shed light on the way the philosophical school of Stoicsm in Greco-Roman antiquity has dealt with the relationship of men and nature by pointing out to some of the key texts in which these issues are mentioned. Although the modern concept of sustainability or environmental protection did not really exist in antiquity, the Stoa was convinced that individual decisions had a direct impact on this world. Following the concept of environmental humanities, the ancient texts and (...) authors are collected as historical ideas of the multifaceted interactions between nature and men that can be fruitfully mirrored with the arguments of the current Anthropocene discourse and its focus on (post)industrialism. By doing so we might come across helpful approaches deeply rooted in our cultural heritage that we could possibly adopt and find practical answers for our age in terms of individual behaviour as well as management decisions to face the ecological and social challenges ahead. (shrink)

This collection of articles is an important milestone in the history of the study of time conceptions in Greek and Roman Antiquity. It spans from Homer to Neoplatonism. Conceptions of time are considered from different points of view and sources. Reflections on time were both central and various throughout the history of ancient philosophy. Time was a topic, but also material for poets, historians and doctors. Importantly, the contributions also explore implicit conceptions and how language influences our thought categories.

The contributions to this volume, which take into account literary, visual, and other types of evidence, show that animals and humans in Graeco-Roman antiquity are interconnected on a variety of different levels and that their encounters and interac.

In Ancient Science and Dreams, M. Andrew Holowchak analyzes the ancient notion of science of dreams throughout Greco-Roman antiquity, from the Classical Greece in the fifth century B.C. to the Roman Republic in the fourth century A.D. Holowchak investigates psycho-physiological accounts, interpretation of prophetic dreams, and the use of dreams in secular and non-secular medicine.

This inaugural lecture considers three main aspects of the relationship between science and morality in Greco-Roman antiquity: first some of the ancient debates on the morality of particular scientific research programmes, especially in connection with the practice of human and animal dissection and vivisection; secondly ancient attempts to secure the autonomy and objectivity of natural scientific inquiry; and thirdly the continuing influence - in certain areas of ancient science - of values, including moral and political values, and of the (...) assumption of the privileged position occupied by human beings in the animal kingdom and the cosmos. (shrink)

In this second chapter of the book 'Human Dignity in the Judaeo-Christian Tradition' the case is made that human dignity is a concept which is also rooted outside this tradition, namely in the philosophical and educational tradition of Greek and Roman Antiquity. It was to this tradition that the Renaissance and the Enlightenment appealed with their concept of human dignity, and the commitment to the concept in modern human rights and constitutional legislation too is indebted to it. The chapter (...) traces the concept from early Greek legal sources via early philosophical documents to Plato and Aristotle and the Hellenistic philosophical schools down to Cicero, where it finds its most philosophical and idealistic expression. The presence of the concept in classical Greek and Roman thought calls in question the view, frequently heard today, that human dignity is a faith-based concept without any basis in philosophical reflection. Instead it demonstrates that even a materialistic philosophy such as Epicureanism was unable to speak adequately of the human being and its place in the universe without raising the question of its unique nature and destiny. (shrink)

In presenting a selection of twenty-eight texts in translation with introductory essays, Vincent L. Wimbush and his co-authors have produced the first book on asceticism that does full justice to the varieties of ascetic behavior in the Greco-Roman world. The texts, representative of different religious cults, philosophical schools, and geographical locations, are organized by literary genre into five parts that give a fascinating overview of the ascetic tradition.

A review is undertaken of the contributions of 38 classical authors, from Pythagoras in the 6th century BCE to Isidore in the 6th century CE, to the classification of the sciences. Such classifications include some that are more theoretical in function, some that are more practical. The emergence of the quadrivium and trivium is charted; the Greek concept of “enkýklios paideía” and the Latin term “artēs liberales” are defined; and the ways in which the form, content, and function of science (...) classifications change during this period are assessed. (shrink)

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

Chinese and Greco-Roman ethics present highly articulate views on how one should live; both of these traditions remain influential in modern philosophy. The question arises how these traditions can be compared with one another. Comparative ethics is a relatively young discipline; this volume is a major contribution to the field. Fundamental questions about the nature of comparing ethics are treated in two introductory chapters, and core issues in each of the traditions are addressed: harmony, virtue, friendship, knowledge, the relation (...) of ethics to morality, relativism, emotions, being and unity, simplicity and complexity, and prediction. (shrink)

Presents a look at the work of Pythagoras, a philosopher who lived in sixth century Greece, and the influence of his theories of mathmatics and music on subsequent intellectual traditions in both the East and West.

This very long book sets out to track and trace the working-class men and, less commonly, women who, against the limited expectations of their social position, learned Greek and Latin as an aspiration for personal change. The ideology of the book is clear and welcome: these figures “offer us a new ancestral backstory for a discipline sorely in need of a democratic makeover.” The book's twenty-five chapters explore how classics and class were linked in the educational system of Britain and (...) in its cultural performativity: Is he a gentleman? Does he have Greek? became the paradigmatic questions, as the study of classics became a sign of cultural attainment and social exclusion. This book sets out to explore the counterstory of the cobblers and shepherds who, like Jude the Obscure, fought against society's oppressiveness to access classical learning.The book's breadth is exemplary. It looks at the issue through genres and media, through different communities and national identities, through the prosopography of ragged-trousered philanthropists, beggar-lecturers, body-building performers, and through other institutions and people who helped, including adult-education teachers, kind bosses, supportive vicars, and fiery communists. This breadth, and the fascinating research that it encapsulates, will make this book a fantastic resource for future scholarship: it outlines the richness of a field that has been all too rarely explored properly. If you do not know Stephen Duck, “the thresher poet,” or Hawkie, the crutch-wielding beggar who performed from the books he sold on the streets of Glasgow, then this book is the place to the meet them. The cast list alone is worth the entrance ticket.Yet this very breadth is also the source of the book's limitations. The sheer number of cases listed, treated at similar length and depth, repeatedly conceals the complexity and even the interest of individual figures or events. So, the numerous representations of Vesuvius in shows around London in the first half of the nineteenth century—after the discoveries at Pompeii—are duly noted as a source of excitement and knowledge about antiquity, but against the recent treatment by Clare Pettitt in Serial Forms (which came out the same year) this mere noting looks desperately thin. There is little discussion of how the characters themselves talked about or negotiated class. This deficiency is particularly important for someone like Charles Kingsley, who was very active in the Chartist movement but also became Queen Victoria's chaplain and the professor of history at Cambridge. There are hilarious descriptions of Kingsley's stammering engagement with the working-class leaders he actively supported, which capture how awkward the interaction of classes could be even and especially when the participants shared a goal of transformation. (Ed Richardson's Classical Victorians: Scholars, Scoundrels and Generals in the Pursuit of Antiquity is good on these moments of awkwardness but is one of several books whose absence from the notes looks pointed.) The authors list cases of working men who were picked up by fashionable society as poets or scholars, many of whom were dropped almost as quickly back into penury—but the telling description of such a case in Kingsley's Alton Locke is passed over, although it reveals an acute self-consciousness about such narratives in a best-selling novel.The very structure of the book tends toward listing cases rather than analyzing them in depth. It is not clear why “Shoemaker classicists” should take up a chapter, bar there having been some. Nor is it clear why some figures are not included. John Brown was an uneducated Scottish shepherd who taught himself Greek, Latin, and Hebrew. He was discovered by a professor, one John Pringle, when he went into a shop to buy a secondhand Greek Testament (though his own church thought this newfound and inexplicable linguistic brilliance suspicious or even satanic). Brown went on to write the wonderfully titled The Self-Interpreting Bible, which remained in print and sold very widely for more than a century after its publication in 1778—especially after it was championed by the evangelical preacher Charles Simeon. It is a pity that Brown escaped the authors’ net, but religion, one of the main reasons to learn the classical languages, is downplayed throughout this study, although its imbrication with classics is everywhere in evidence. The book, significantly enough, leads rather toward a rosy-eyed depiction of posh classical communists like Geoffrey de Ste. Croix and George Thompson, and other such heroes of the authors.The authors are much more at home in the years of ardent republicanism in the decades on either side of the turn of the nineteenth century and in the beginning of the twentieth century, when socialism and communism became embedded in British life. The last half of the nineteenth century, when classics really established itself institutionally as a discipline, and its revolutionary potential moved away from the zeal of the Romantic philhellenists into the artistic idealism of a Richard Wagner or the sexual freedom of an Oscar Wilde, are less adequately explored. The huge attendance at art galleries and the Great Exhibition at Crystal Palace as a route to encountering the past of antiquity in material form are barely addressed (Kate Nichols's Greece and Rome at the Crystal Palace would have helped); nor do shows like Astley's Circus get air time (Rachel Bryant Davies's Troy, Carthage, and the Victorians is revealing). It is particularly noticeable in such a voluminous study that there is no discussion of how turning to Greek was a crucial route for the self-understanding of what was considered transgressive male sexuality—and for a particular engagement between the classes. To understand the social force of classics requires a deeper appreciation of the dynamics between conservatism and transformation, disciplinarity and self-discovery. The big picture of how classics matters is lost in the gems picked out by the authors. Gems they are, but their facets need more attention and their setting a broader perspective. (shrink)