This paper analyses the contagious nature of the paradox as the functioning principle of Deleuze and Guattari’s writing machines, aiming to emphasize the semiotic and socio-political contributions of any linguistic enterprise structurally based in paradoxes. Beckett’s texts are discussed here, as they are in Deleuze and Guattari’s works, as component abstract machines apt to couple themselves to other abstract machines in order to generate increasingly sophisticated and far-reaching liberatory procedures. As the paper shows, paradox-based discourses of the highest degree of (...) sophistication can bypass traditional models of “understanding,” replacing traditional requirements of textual interpretation with always-fruitful and immediate affective models of contact and “work” with the text. Consequently, repeated exposure to paradox-based discourses is apt to generate sophisticated affects, delineating powerful procedures to obstruct repression mechanisms and articulating a model of empowerment based on contagion rather than hierarchical distribution. (shrink)

With a length of over 60 years (first issue appeared in 1950), the magazine ,,Mitropolia Olteniei” had an important contribution to the study of history and philosophy of religions. In this review have been approached numerous issues of dogmatic theology, moral, religious and history and philosophy of religions. This study approached topics ranging from religions of Dacians and neighboring peoples to the important topics as inter-religious dialogue for modern society. If publications are spread over period of 60 years, one can (...) deduce easily that in a relatively short period, this article will return among these studies with names and their articles who will continue to bring their contribution to the history and philosophy of religion. (shrink)

L'antitesi di Talete. Anassimandro e l'infinito come simultaneità. L'aria di Anassimene come mediazione. Il principio d'Eraclito come equilibrio. Il fuoco eracliteo come divenire. Il fuoco eracliteo come armonia.

Quomodo versus lyrici legendi sint, plerumque inter metricos constat, licet de origine singulorum versuum vel colorum dubia moveantur; at ne illud quidem confirmari potest in genere illo peculiari, quo multae strophae Pindari et Bacchylidis et nonnullae poétarum scenicorum compositae sunt. Quod in talibus versibus maxime conspicuum est, hoc est, quod metra τоû σоυ et διπλασíоυ γéνоυς; in eis coniunguntur vel coniungi videntur, ita, ut ambitus utriusque partis aut par aut non multum maior minorve sit. lam antiqui metrici parum compertum habebant, (...) qua ratione eiusmodi versus explicarent. Cum maior pars ceterorum versuum lyricorum etiam post Alexandri aetatem in usu essent et doctrina grammaticorum hanc quoque materiam complecteretur, pauca versuum illorum vestigia remanebant, postquam chori lyrici et dramatici conticuerunt. Habemus quidem Meliambos Cercidae eodem genere carmina pangere conati, quo clarissimi illi veteres, sed eos perlegentes statim sentimus artem intermortuam non ab isto Megalopolitano nova vita donatam esse; nihil enim frigidius cogitari potest, quam si quis oda pindarica recitata ad Cercidae versus se convertat eosque alta voce pronuntiare conetur. Metrici graeci et romani praeter paucos versus eosque singillatim genus nostrum non tractant nee quisquam ex eorum numero de genere toto disseruit. Horatium et suamet ipsum arte prae ceteris excellentem et doctrina metrica haud mediocriter imbutum non aliter ac nos huius aevi philologos nescire, quomodo carmina pindarica ab ipso poeta componerentur, ex Oda notissima patet, in qua Pindarum quisquis studet aemulari frustra in re desperata desudare perhibetur. Ad universam lyricorum graecorum artem pertinent, quae a Cicerone in Oratore affirmantur, qui tamen clausulis orationis numerosae operam dans rem metricam non neglexit: sed in versibus res est apertior, quamquam etiam a modis quibusdam cantu remoto soluta esse videatur oratio, maximeque id in optima quoque eorum poëtarum, qui λυρικоí a graecis nominantur, quos, cum cantu spoliaveris, nuda paene remanet oratio. Causam hanc vel maximam esse puto in nullo alio carmina pangendi genere musicam, saltationem, metrum tam arte cohaesisse; cum poësis non iam pars habebatur υθμιξου, quod φθγγοδ, σχμα, συλλαβ definiebant, ut Aristoxeni terminis utar , via stabilita ambitum singulorum versuum ac colorum statuere conarentur et indoloem pedum metricorum conicendo indicarent. (shrink)

From the information previously available, the Triclinian edition of Theocritus, known through the manuscripts Paris, BNF gr. 2832 and Vaticano, BAV gr. 1825 + 1824, was believed to end with the Syrinx and the Ara Dosiadae. Thanks to the discovery of a folio of the MS. Vaticano, BAV gr. 1824 in the Bodleian Library in Oxford, we now know that it continued with at least the Ara Ionica and the Securis, both with Holobolus's scholia. Folio 144 of the MS. (...) Oxford, BL D'Orville 71 thus now constitutes a prime witness of these scholia. (shrink)