The ancient Greeks used the term _catharsis_ for the cleansing of both the body by medicine and the soul by art. In this inspiring book, internationally renowned cardiologist Andrzej Szczeklik draws deeply on our humanistic heritage to describe the artistry and the mystery of being a doctor. Moving between examples ancient and contemporary, mythological and scientific, _Catharsis_ explores how medicine and art share common roots and pose common challenge. As Szczeklik explores such subjects as the mysteries of the heart rhythm, (...) the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine. “Drawing on mathematical ideas, physics, music, mythology, clinical science and clinical practice, Szczeklik never forces the issues or compels.... He approaches the questions of pain, suffering and death that confront the doctor daily and that the world regards as ‘terrible, futile, and destructive.’ Here he stresses the immense value of the experienced doctor in helping patients in the loneliness of pain.”—Niall O'Higgins, _Times Higher Education Supplement_. (shrink)

The ancient Greeks used the term _catharsis_ for the cleansing of both the body by medicine and the soul by art. In this inspiring book, internationally renowned cardiologist Andrzej Szczeklik draws deeply on our humanistic heritage to describe the artistry and the mystery of being a doctor. Moving between examples ancient and contemporary, mythological and scientific, _Catharsis_ explores how medicine and art share common roots and pose common challenges. The process of diagnosis, for instance, belongs to a world of magic (...) and metaphor; the physician must embrace it like a poem or painting, with particular alertness and keen receptivity. Speculation on ways to slow aging through genetics, meanwhile, draws directly on the dream of immortality that artists and poets have nourished through the ages. And the concept of _catharsis_ itself has made its way from the writings of Aristotle to today's growing interest in the benefits of music to health, especially in newborns. As Szczeklik explores such subjects as the mysteries of the heart rhythm, the secret history of pain relief, the enigmatic logic of epidemics, near-death or out-of-body experiences, and many more, he skillfully weaves together classical literature, the history of medicine, and moving anecdotes from his own clinical experiences. The result is a life-affirming book that will enrich the healing work of patients and doctors alike and make an invaluable contribution to our still-expanding vision of the art of medicine. (shrink)

Authenticity is a formidable word, a dangerous word, a word whereby fortunes, careers, and reputations can be won or lost. But what has authenticity to do with art? The essays in this book focus on their turbulent relationship ranging across the fields of literature and the visual arts and philosophy, and covering topics as diverse as fictional biography, portraiture, copies and forgeries, war photography, letters as testimony and texts in translation. The reader encounters erasmus, Rousseau, Heidegger, Beckett, Borges, and Houellebecq; (...) engages with subjects as varied as Sir Gawain and the Green Knight, da Vinci's La Belle Ferronniere, and Million Dollar Baby. (shrink)

The last few words involve a difficulty which only Wilamowitz has perceived. The adjective could do either of two jobs: it could mean ‘without a feast’ or it could be part of an expression like meaning ‘a feast that is no feast’ and made on the model, etc. If it is being used in the former way, follows oddly upon.

In recent years the general view of the theology and morality of Aeschylus which we still find expressed in the most popular handbooks of Greek tragedy has come under fire; fire which its defenders have so far been unwilling or unable to return. That Aeschylus was a bold religious innovator propounding advanced doctrines can no longer be assumed without argument; neither can one take for granted that his outlook on morality in general and on justice in particular was as advanced (...) as it was once usual to maintain. (shrink)

So many scholars nowadays believe that the final scenes of the Seven against Thebes as we have them have been considerably distorted and interpolated that some may not be aware that such an opinion was first expressed little more than ioo years ago. The first scholar to do so was A. Scholl, who afterwards recanted.

No project lay nearer to the heart of Eduard Fraenkel during his last years than that of promoting a reprint of the famous book Die dramatische Technik des Sophokles, by Tycho von Wilamowitz-Moellendorff, which was first published as volume xxii of Philologische Untersuchungen in 1917. Tycho Wilamowitz, the son of Ulrich von Wilamowitz-Moellendorff and the grandson of Theodor Mommsen, was killed fighting against the Russians near Ivangorod on the night of 14/15 October 1914. After his death the manuscript was prepared (...) for publication by his friend Ernst Kapp, who has explained in the foreword of the book the nature of his services. (shrink)

All commentators so far as I know have believed that lines 100–1 are simply a vague paraphrase for Jebb's translation may be taken to represent the usual view: ‘… is he threading the straits of the sea, or hath he found an abode on either continent?’ But this sense is not only poetially inept, but linguistically impossible.

Jebb renders the last clause as follows: ‘The warrior of the white shield, who came from Argos in his panoply, hath been stirred by thee to headlong flight, in swifter career.’ ‘In swifter career’ is a discreet rendering of ., Jebb says, ‘does not mean “in flight swifter than their former approach“ nor “the reins are shaken ever faster on the horses' necks”.’ ‘The Argives’, he writes, ‘began their retreat in the darkness : when the sun rises, the flashing steel (...) of their bridles shows them in headlong flight’. Cf. P. Mazon, R.E.G. xxv , 13. This view is shared by all modern scholars, except that Dain and Mazon put commas after and translate accordingly; which I do not think is an improvement. How to Cite This Article. (shrink)

p. 13: delete lines 5 and 6.p. 17, 1. 18: after ‘3. 599–603:’, insert ‘the manuscripts have:’.1. 22 : for κοπ⋯ς read.p. 21, 1 24: for fSLov read χpVOVP22, 1. 4 : for TOV xpovov read TOV XpOV.1. 5: alter the genitives to accusatives.p. 23, five lines from the bottom: for ‘221 f.’ read ‘22 f.’.

Christopher Carey, CQ 39 , 287ff. sets out to explain the transition in Pindar, O. 8.52–5 from the story of the building of the walls of Troy to the praises of the trainer Melesias. ‘The myth of O. 8’, he writes, ‘tells of the role of Aiakos in the building of the walls of Troy. It closes with Apollo going off to his favourite haunts while Poseidon drives off to the Isthmus of Corinth, depositing Aiakos at Aigina on the way. (...) The myth is followed by an opaque gnome.’. (shrink)