Individual and institutional conflict of interests in biomedical research have becomes matters of increasing concern in recent years. In the United States, the growth in relationships — sponsored research agreements, consultancies, memberships on boards, licensing agreements, and equity ownership — between for-profit corporations and research universities and their scientists has made the problem of conflicts, particularly financial conflicts, more acute. Conflicts can interfere with or compromise important principles and obligations of researchers and their institutions, e.g., adherence to accepted research norms, (...) duty of care to patients, and open exchange of information. Disclosure is a key component of a successful conflict policy. Commitments which conflict with a faculty member's primary obligations to teaching, research, administrative responsibilities, or patient care also need attention. Institutional conflict of interests present different problems, some of which are discussed in an analysis of an actual problem posed by two proposed clinical trials. (shrink)

This article examines a series of Greek myths which establish a structural equivalence between two motifs, stoning and blinding; the two penalties either substitute for one another in alternative versions of a single story, or appear in sequence as repayments in kind. After reviewing other theories concerning the motives behind blinding and lapidation, I argue that both punishments-together with petrifaction and live imprisonment, which frequently figure alongside the other motifs-are directed against individuals whose crimes generate pollution. This miasma affects not (...) only the perpetrator of the deed, but risks spreading to the community at large, and prompts measures aimed at containing the source of the disease. Both blinding and lapidation are designed to cordon off the contaminant by removing him from all visual and tactile contact with other men. But it is not only the nature of the crimes that explains the kinship between the two penalties. I further argue that the attributes Greek thinking assigned to stones, repeatedly characterized as unseeing, mute, immobile, and dry, and symbolic of the condition of the dead, elucidate the connections and clarify the antagonism that myth suggests between lapidation and sight. Stoning, blinding, imprisonment, and petrifaction all consign the criminal to an existence exactly parallel to that of the stone, stripping him of the properties that distinguish the living from the dead, and making him both unseeing and unseen. Three examples drawn from archaic and classical literature provide examples of these interactions between stones, blindness, invisibility, and death: the snake portent sent by Zeus in Book 2 of the Iliad, the Perseus myth, and Hermes' activity in both the Homeric Hymn to Hermes and Aeschylus' Choephoroe. (shrink)

The central conflicts of the world today are closely related to cultural, traditional, and religious differences between nations. As we move to a globalized world, these differences often become magnified, entrenched, and the cause of bloody conflict. Growing out of a conference of distinguished scholars from the Middle East, Europe, and the United States, this volume is a singular contribution to mutual understanding and cooperative efforts on behalf of peace. The term paideia, drawn from Greek philosophy, has to do with (...) responsible education for citizenship as a necessary precondition for effective democracy. (shrink)

The central conflicts of the world today are closely related to cultural, traditional, and religious differences between nations. As we move to a globalized world, these differences often become magnified, entrenched, and the cause of bloody conflict. Growing out of a conference of distinguished scholars from the Middle East, Europe, and the United States, this volume is a singular contribution to mutual understanding and cooperative efforts on behalf of peace. The term paideia, drawn from Greek philosophy, has to do with (...) responsible education for citizenship as a necessary precondition for effective democracy. (shrink)

Recent attempts by American theorists to produce a radical politics, characterized by the effort to translate the insights of Continental philosophy into a political register, remain trapped in that which they purport to transcend: the metaphysics of subjectivity. In their essential determinations, the works of William Connolly, Stephen White, Richard Ashley, etc. remain firmly anchored in a traditional liberal schema. The reason for this is that while these efforts have sought to de-center political identity by exposing its relational character they (...) have not re-thought 'rela tionality' itself. Our attempt to develop the more profound political impli cations of 'relationality' unfolds through a synthetic explication of Martin Heidegger's analysis of language, Jacques Derrida's logic of the gift, and Emmanuel Levinas' consideration of the Other. The emergent thematic of asymmetrical relationality reconfigures liberalism and provides for a rethinking of the structure of welfare. (shrink)

This article focuses on a set of problems involving a controversial portion of the HHA that describes the performance of the Delian chorus in a rare instance of early performance criticism. First, the two variants for a key noun in line 162, bambaliastus and krembaliastus, are discussed. Skepticism is expressed about the applicability to this scene of the first variant. On the contrary, krembaliastus——the suitability of which has not been discussed in detail, even by scholars who seem to have favored (...) it——can make good sense. Literary and iconographic evidence makes it plausible that krembaliastus denotes the act of generating through percussion devices called krembala rhythmic patterns meant to govern stylized movement, what the Greeks called schêêmata. The marked term krembaliastus was probably employed to evoke a characteristic trait of the highly skilled Deliades. Furthermore, as vocal and kinetic activities were inextricably linked in choral practices, they are ultimately conceptualized as part of the same unified expressive mechanism. The author also questions the conventional interpretation of mimeisthai as ““mimicking,”” instead reading it as ““representation,”” involving the evocation of the essence of an entity but not necessarily exact reproduction of its formal details. Finally the essay argues that the Delian chorus' art of ““knowing how to represent the voices and the rhythmic patterns of all people”” designates the perfection of choral performance, as an all-inclusive enactment that forms a powerful trans-local bond. (shrink)

The central conflicts of the world today are closely related to cultural, traditional, and religious differences between nations. As we move to a globalized world, these differences often become magnified, entrenched, and the cause of bloody conflict. Growing out of a conference of distinguished scholars from the Middle East, Europe, and the United States, this volume is a singular contribution to mutual understanding and cooperative efforts on behalf of peace. The term paideia, drawn from Greek philosophy, has to do with (...) responsible education for citizenship as a necessary precondition for effective democracy. (shrink)

This is a book about the education America owes to its children, why its education system is in poor condition, and what might be done to give that system both energy and quality.

This article treats the figure of the fox that appears as one of the members of the embassy sent by the animal s to Zeus in Callimachus' second ¡ambo By exploring previous appearances of the fox in the poetic repertoire, I identify a series of Archaic and early Classical works that Callimachus uses by way of 'intertexts', and argue that the Hellenistic author draws on the animal's place within the interconnected iambic and fable traditions that inform his poem. Already visible (...) in these earlier texts, and anticipating Callimachus, is a concern with literary as well as ethical polemics. (shrink)

This article treats the verbal and physical altercation between the disguised Odysseus and the local beggar Iros at the start of Odyssey 18 and explores the overlapping ritual and generic aspects of the encounter so as to account for many of its otherwise puzzling features. Beginning with the detailed characterization of Iros at the book's start, I demonstrate how the poet assigns to the parasite properties and modes of behavior that have close analogues in later descriptions of pharmakoi and of (...) famine demons expelled from communities in rites that are documented from different parts of the Greek world from the archaic period on; so too the account of Iros' ejection from the house and of his subsequent fate conforms to the patterns observable in these rituals. The second part of the discussion examines the ways in which the beggars' quarrel anticipates the enmities that the Ionian iambographers would construct with those whom they cast as their echthroi and rivals, and suggests that we see in the Homeric scene an early instance of an iambic-style confrontation presented in poetic form for performance at the symposium. The iambographers' own deployment of the scapegoat and famine demon paradigms for the vilification of their targets promotes the overlap between the epic and iambic material. In both portions of the argument, the discussion observes how the several frames informing the episode in Book 18 coincide with and promote the Odyssey's larger themes. (shrink)

The book creates a framework for a cohesive discourse, for a "new human ecology".

A partir de las reflexiones que Durkheim lleva a cabo en La División del Trabajo Social, podemos entender que un intento por desarrollar un concepto de sociedad es una tarea abordable a partir de la indagación sobre sus formas de integración. Siguiendo sus planteamientos, referirse sociológicame..

This article treats representations of victors in the Greek athletic games in the artistic and poetic media of the early classical age, and argues that fifth-century sculptors, painters and poets similarly constructed the athlete as an object designed to arouse desire in audiences for their works. After reviewing the very scanty archaeological evidence for the original victory images, I seek to recover something of the response elicited by these monuments by looking to visualizations of athletes in contemporary vase-painting and literary (...) sources, and most particularly in the epinician odes of Pindar. Poets and painters, I suggest, both place their subjects within an erotically-charged atmosphere which replicates that surrounding actual athletes in the city gymnasia and at the games, and encourage audiences to regard the youthful bodies on display as "spectacularized" objects, sources of both aesthetic and sensual pleasure. The makers of monumental images work within the same paradigm, also prompting the viewer to transfer the sentiments aroused by the real-world athlete and victor to his re-presentation in bronze. Through an examination of the conventions used for victor images, and a close study of the so-called Motya charioteer, I propose that the sculptor deploys techniques analogous to those of artist and poet to highlight the appeal of the athlete's body, and displays the victor in a mode calculated not only to mark him as the alluring target of the gaze, but even to cast him as a potential erômenos. The concluding section of the article investigates the impetus behind this mode of representation, and seeks to place the dynamic between the viewer and the viewed within the context of the early fifth-century polis. (shrink)

This paper is a companion to work of Feferman, Jäger, Glaß, and Strahm on the proof theory of the type two functionals μ and E1 in the context of Feferman-style applicative theories. In contrast to the previous work, we analyze these two functionals in the context of Schlüter's weakened applicative basis PRON which allows for an interpretation in the primitive recursive indices. The proof-theoretic strength of PRON augmented by μ and E1 is measured in terms of the two subsystems of (...) second order arithmetic, Π10-CA and Π11-CA, respectively. (shrink)

Discussion of the closing lines of Pindar¿s seventh Nemean has concentrated almost exclusively on the lines¿ relevance to the larger question that hangs over the poem: does the ode serve as an apologia for the poet¿s uncomplimentary treatment of Neoptolemus in an earlier Paean, and is Pindar here most plainly gainsaying the vilification in which he supposedly previously engaged. The reading that I offer suggests that a very different concern frames the conclusion to the work. Rather than seeking to exculpate (...) himself, the poet announces instead that in the song that the audience has just heard, the composer has adhered to two prime virtues that the encomiastic genre should embrace: variatio and an ability to counter the language of blame. By reorienting the debate in this way, I aim to elucidate the striking metaphors and other rhetorical devices that fill the final lines, and most particularly to make sense of the canine imagery that seems so recurrent a motif. As my reading seeks to show, the dog is chosen as master trope both for his relation to the practice of invective and for his relevance to that stale act of repetition that the poet here rejects. By giving his audience a sample of the mode of speech that the calumnist practises, and that the praise poet may appropriate when combating the opposite genre, Pindar makes the merits of his own poetry shine the brighter, and invites the cognoscenti to appreciate his sophia. More broadly, the encomiastic singer¿s brief deployment of the weapons of the abuse poet allows us to understand something of the overlapping and symbiotic relations between the different genres in archaic Greek poetry. (shrink)

Unresolved questions surround Simonides fr. 531, which eulogizes the Greeks who fell at Thermopylae. To what genre do these lines belong, what were the original conditions of their performance, and does Diodorus Siculus, who preserves the fragment, transmit just an extract or the complete piece? Commentators even differ as to where Simonides’ lines began: for some the words τŵυ ༐υ Θερμοπλαιζ θαυóυτωυ form part of the original composition, for others they conclude Diodorus' prose introduction. In my reading of the fragment, (...) I aim to address some of these puzzles by focusing chiefly on issues that allow for greater certainty: the structure and sentiments of the lines, and the cohesion between the song's contents and the conventions found in near contemporary commemorations of men fallen in battle on their country or polis’ behalf. As the comparative material will suggest, Diodorus’ designation of the lines as an encomion, something ‘properly’ delivered in praise of living men, should perhaps not be dismissed out of hand. Simonides‘ words may have been embedded within a composition as much designed for the purpose of praising, exhorting and inspiring the living as for memorializing the dead. (shrink)

Where might one start? Of “education,” the Latinate etymology is evocative: to draw out, draw away from, draw forth. The echoes are linear. Ex tenebras lux, from the shadows of ignorance to the luminosity of knowing, a path towards experience out of innocence. That path has its symbolic origin in the library of third and second century B.C. Alexandria, where Aristophanes of Byzantium and Aristarchus of Samothrace first coined the word canon, as the mark of a standard of excellence. In (...) that library we would have found the Aristotelian texts summoning the human race to immortality, through an education that alone can lead us from the conditions of bestiality to those of divinity. Political order rests on an education in harmony with the constitutional structure of the city state; ultimately however eudaimonia, the highest joy known to man, lies in the educated exercise of the soul’s faculties in conformity with the most perfect virtue through philosophical contemplation. Here is the telos of the pedagogic journey. (shrink)

This article treats representations of the wolf in the Greek archaic and early classical literary and visual sources. Using a close reading of the Iliadic Doloneia as a point of departure, it argues that wolves in myth, fable, and other modes of discourse, as well as in the early artistic tradition, regularly serve as a means of signaling the loss of distinctions that occurs when friend turns into foe and an erstwhile philos or “second self” betrays one of his kind. (...) Prominent in the discussion are two further issues: the generic confusion or oscillation that characterizes so many textual and artistic versions of the tale, as well as the loss of distinction between two roles that normative representations more regularly contrast, those of warrior and hunter, martial victim and animal prey. Within the Doloneia, warfare proves indistinguishable from the hunt. (shrink)

This memorandum was prepared by Daniel Steiner, General Counsel to Harvard University on behalf of the President's Office and distributed to the faculty in October, 1980. It reviews recent Harvard policy with regard to patents and technology transfer. Spurred by recombinant DNA research, at Harvard and elsewhere, benefits and pitfalls of the University's participation as a minor shareholder in a company engaged in research and development are identified. The author notes that “The memorandum has benefited from numerous discussions with members (...) of the faculty and administration and in particular from the comments of President Bok and Dean Rosovsky.”. (shrink)