Los objetivos principales de este trabajo son, por una parte, plantear una propuesta metodológica para el estudio del cambio lingüístico en árabe clásico y, por otra, explorar las particularidades de los procesos de gramaticalización y el cambio lingüístico en esta lengua semítica. Para ello, hemos analizado los procesos de cambio y gramaticalización experimentados por la partícula ḥattā (‘hasta’, ‘incluso’) en árabe clásico desde el siglo VII hasta el XX. Se han analizado 731 ejemplos de ḥattā extraídos de uno de los (...) más completos corpus históricos del árabe, el HADC, todavía inédito. El estudio ha tenido en cuenta 30 variables diferentes que se han recogido en fichas recopiladas en una base de datos relacional. Los resultados se han organizado en un esquema conceptual que presenta la vinculación semántica de cada uno de los cinco valores de ḥattā así como las trayectorias evolutivas de esta partícula en árabe clásico. Las conclusiones más relevantes son que, por descontado, sí hay cambio lingüístico en árabe clásico, si bien sus trayectorias evolutivas se ven constreñidas tanto por la presión de la norma coránica como por su naturaleza de lengua esencialmente escrita. Los resultados también revelan que existe una marcada estratificación, persistencia y divergencia en los procesos y apuntan, a su vez, la relevancia de incluir variables como el origen del autor o los tipos de texto cuando se analiza el cambio lingüístico. (shrink)

This article expands upon the range of options and methods of some of my earlier studies on Euripides and the Old Testament. These studies have sought to discover similar linguistic features and concepts in the texts of Euripides and the Old Testament, and to discuss how Euripidean tragedies can be read as Greek responses to Hebrew anthropological beliefs, more specifically as poetic-philosophical approaches to the anthropo-theological narratives of Genesis 2–4 and related biblical texts. These biblical texts probably transmitted through improvised (...) oral or written Greek translations preceding the Septuagint (LXX), reorganise and transform the meaning of Hebrew expressions. This article presents the basic problems and aspects of a cultural-critical and comparative analysis and illustrates them with shared motifs from Medea, one of the eight Euripidean tragedies named after a female protagonist, and the Old Testament, thus expanding the boundaries of the traditional historic-critical exegesis.Contribution: The article contributes to the investigation of the background of the Septuagint from a cultural critical perspective with special reference to the Euripidean tragedies. (shrink)

The present article inquires into the uses of Medea’s tragedy as a representation of political sedition in the XVII century, especially in Hobbes’ works who introduces the myth with few variations three times in his work. We are interested in the semantic shifts in the use of a tragedy that, for multiple reasons –to which we will later return– works as an epochal catalyzer of the political and moral dangers with which regicide is symbolically burdened. This constant role, identifiable (...) in the versions of Euripides, Seneca, and Corneille, combines differently -through history- the pairing of seduction and sedition that we try to reconstruct as a convergent element of the tragic vision of politics that runs through Hobbes work. Finally, we explore how classic tragedy is used by Bramhall in his debate with Hobbes, highlighting the connection between tragic and heretical readings of the philosopher. (shrink)

No speech in Attic tragedy has made a stronger impression on later generations than Medea's farewell to her children. Four changes of mind and two displays of maternal affection lay bare the depths of a tortured soul; ‘there, in a short space, arelove and hatred, firmness and hesitation, fierce joy and unfathomable sorrow’.

En este artículo, nos preguntamos si es pertinente un análisis del personaje de Medea de Eurípides, y más concretamente, de su filicidio, a la luz de la doctrina aristotélica de la acción. Resulta dudoso, y quizás equívoco, hablar de "responsabilidad" (en sentido aristotélico) en el caso de la heroína, ya que sus motivaciones, como las de todo héroe trágico, tienen un doble signo: enfrentado a una ἀνάγκη superior, también desea lo que está forzado a hacer. Además, Medea no (...) es una mujer común: es un personaje ontológicamente complejo que participa, más de lo que frecuentemente se ha enfatizado, del plano divino. In this article we wonder if it is pertinent to analyse the character of Euripides' Medea and, more precisely, her filicide, in the light of Aristotle's doctrine of action. With regard to the heroine, it is doubtful and perhaps confusing to talk about "responsibility" (in Aristotelian terms) because her motivations, as all tragic heroes', are two-sided: faced to a superior ἀνάγκη he wants what he is forced to do as well. In addition, Medea is not an ordinary woman: she is an ontologically complex character that has a share in the divine level, a share which is more crucial than what has usually been emphasized. (shrink)

In his new text of Euripides James Diggle shows that he has the courage of his convictions: he deletes the last twenty-five lines of Medea's great monologue. He is to be applauded for following ratio et res ipsa where it leads him and being undaunted by the sight of so much blood. No editor of Euripides before him, as far as I am aware, has ever been courageous enough to put these lines in square brackets, although their deletion had (...) been a subject of discussion for exactly one hundred years at the time Diggle's edition appeared. But though Diggle is to be praised for his courage in following reason, I believe he is mistaken. The arguments for excision are far from negligible, and defenders of the passage show a regrettable tendency to underestimate their force. But while I shall give these objections as much weight as any of those who urge deletion, I shall argue that there is a much more economical way of dealing with them than large-scale amputation. I shall accordingly pay close attention to the problems for which excision is the proposed solution, with inevitable repetition of earlier scholars' arguments. Since I have myself recommended athetesis of long passages on several occasions, I do not think I will be regarded as insufficiently alive to the possibility of interpolation or overly reluctant to wield the knife. In this instance, however, there are strong stylistic grounds for believing in the genuineness of most of the passage in question. (shrink)

In his new text of Euripides James Diggle shows that he has the courage of his convictions: he deletes the last twenty-five lines of Medea's great monologue. He is to be applauded for following ratio et res ipsa where it leads him and being undaunted by the sight of so much blood. No editor of Euripides before him, as far as I am aware, has ever been courageous enough to put these lines in square brackets, although their deletion had (...) been a subject of discussion for exactly one hundred years at the time Diggle's edition appeared. But though Diggle is to be praised for his courage in following reason, I believe he is mistaken. The arguments for excision are far from negligible, and defenders of the passage show a regrettable tendency to underestimate their force. But while I shall give these objections as much weight as any of those who urge deletion, I shall argue that there is a much more economical way of dealing with them than large-scale amputation. I shall accordingly pay close attention to the problems for which excision is the proposed solution, with inevitable repetition of earlier scholars' arguments. Since I have myself recommended athetesis of long passages on several occasions, I do not think I will be regarded as insufficiently alive to the possibility of interpolation or overly reluctant to wield the knife. In this instance, however, there are strong stylistic grounds for believing in the genuineness of most of the passage in question. (shrink)

The topic of this essay is akrasia in its most paradoxical kind, as it appears to us in the emblem of Medea. The argument starts with the claim that the problem with akrasia is especially a problem of rational potentiality: to understand it philosophically, we are forced to embrace the idea that its possibility is immanent to the rational capacity of action. By discussing elements of Plato's, Aristotle's, and Davidson's explanations of practical irrationality, the argument proceeds to demonstrate that (...) the reasons a practical capacity provides exist as „forces,“ that rational forces are structurally in excess with respect to their normative statuses, and that Medea is the mythical figure par excellence of such an immanent excess of rational agency. On account of these insights, we can begin to understand that akrasia is not only a kind of failure, or incapacity, but entails the very possibility of a „metamorphosis“ of the subject. (shrink)

After an opening of the elegiac epistle which recalls the Euripidean-Ennian Medea-prologue, Ovid's heroine thus states her purpose : est aliqua ingrato meritum exprobrare voluptas; hac fruar, haec de te gaudia sola feram.

The above is the text of Medea 922–33 and a selection of the critical apparatus from the Oxford text edited by J. Diggle. In his discussion of the variant readings at 926 Diggle leaves open the choice between θήσομαι and θήσω. It seems to me worth noticing that an old proposal of Theodor Ladewig to transpose 926–8 and 929–31, which has in any case much to commend it, has a bearing on the solution of this problem.

The above is the text of Medea 922–33 and a selection of the critical apparatus from the Oxford text edited by J. Diggle. In his discussion of the variant readings at 926 Diggle leaves open the choice between θήσομαι and θήσω. It seems to me worth noticing that an old proposal of Theodor Ladewig to transpose 926–8 and 929–31, which has in any case much to commend it, has a bearing on the solution of this problem.

This article explores Thomas Hobbes’s political translations of Euripides’s Medea and, particularly, his representation of the Dionysian ritual of killing and dismembering a sacrificial victim (sparagmos). To answer the question of what forms political theology may take in modernity, I contend that Hobbes seeks to reverse the political theological meaning of ancient Greek sparagmos—which was originally depicted in Euripides as a legitimate religious sacrifice whose objective was to reunify the polis—by turning it into a senseless act of political violence (...) that will dissolve the civil state into competing interest groups or body parts. If Hobbes seeks to expel religious sacrifice from his political state into archaic pre-history, however, the article goes on to argue—via Bramhall, Schmitt, and Cavarero’s revisionary readings of his work—that the philosopher’s critique of Medea ends up bestowing a legitimacy upon the tragic heroine that disarticulates the political theological unity upon which his Commonwealth is founded. In the tragic figure of Medea, Dionysian sparagmos returns to dismember and even potentially consume the body parts of the Leviathan. (shrink)

So Diggle's recent text and apparatus criticus; so too its predecessor in the Oxford series . Advocates of πντα δ' ξελον βον have, however, been in a considerable majority, and include Porson, Elmsley, Bothe, Weil, Wecklein, Nauck, Paley, Verrall, Meridier, and, more recently, Schiassi and Ebener . But Page's objection cannot be lightly dismissed: ‘With βον here, σο must be understood; and the ellipse seems intolerable.’ To this I would add what appears to have been largely disregarded, namely that the (...) contextual and thematic significance of δμον is an even stronger argument in its favour. Medea is πολις , having lost not only her home in Colchis but also her new home in Corinth . In a sense the fate cruelly forced upon the daughters of Pelias by Medea is now visited upon Medea herself, who finds herself deserted and alone . This isolation brings with it the realization that to those to whom she should be ίλη she is now χθρ , while those whom she should be able to regard as λoι are now χθρ . Her response? As Medea had done in Iolcus, so δμον τε πντα συγχασʼ ονος | ξετιτι γαας κτλ. (shrink)

So Diggle's recent text and apparatus criticus; so too its predecessor in the Oxford series. Advocates of πντα δ' ξελον βον have, however, been in a considerable majority, and include Porson, Elmsley, Bothe, Weil, Wecklein, Nauck, Paley, Verrall, Meridier, and, more recently, Schiassi and Ebener. But Page's objection cannot be lightly dismissed: ‘With βον here, σο must be understood; and the ellipse seems intolerable.’ To this I would add what appears to have been largely disregarded, namely that the contextual and (...) thematic significance of δμον is an even stronger argument in its favour. Medea is πολις, having lost not only her home in Colchis but also her new home in Corinth. In a sense the fate cruelly forced upon the daughters of Pelias by Medea is now visited upon Medea herself, who finds herself deserted and alone. This isolation brings with it the realization that to those to whom she should be ίλη she is now χθρ, while those whom she should be able to regard as λoι are now χθρ. Her response? As Medea had done in Iolcus, so δμον τε πντα συγχασʼ ονος | ξετιτι γαας κτλ.. (shrink)

Much has been written about the problematic passage towards the end of the Medea prologue-speech, in which the Nurse expresses fear concerning the intention of her mistress; problematic both in itself, especially as to the interpretation of lines 40–2, and in relation to lines 379–80, which are almost the same as 40–1; a most suspicious circumstance.

Much has been written about the problematic passage towards the end of the Medea prologue-speech, in which the Nurse expresses fear concerning the intention of her mistress; problematic both in itself, especially as to the interpretation of lines 40–2, and in relation to lines 379–80, which are almost the same as 40–1; a most suspicious circumstance.

This essay reads The Argonauts against a preceding literature of queer and trans parenting, specifically by women of colour, to account for absences and evasions in Maggie Nelson's relation to queer feminist literary history. Resituating her quotation about “kinship systems” from Judith Butler into Butler's discussion of house mothers in ball culture, it calls attention to the erasure of queer racialized embodiment and intellection from Nelson's account, emblematized by Cherríe Moraga's Medea and – as embodied site of “shit and (...) labor” – the perineum, figuring the work of connection. (shrink)

The text and apparatus below are Diggle's. At the end of the article I give, for the sake of the curious, an expanded version, for 11ff., of Wecklein's ‘Appendix coniecturas minus probabiles continens’, with references where they are known to me.

Nous ecartons ici deux tentatives visant a rendre compte de l’irrationalite de l’action akratique au sein du systeme de Spinoza: celle contenue dans Spinoza meme et une seconde toute recente, due a della Rocca, qui pretend parler au nom de Spinoza. Nous tracons a larges traits une troisieme voie, laquelle n’est pas manifestement en porte-a-faux avec les principes de la psychologie morale de Spinoza. Cette tentative tourne autour d’une conception du conatus integrant un element normatif et subjectif, soit le besoin (...) de former un moi structure de facon stable. Sans ce dernier, le plus grand bien que les humains soient susceptible d’atteindre, l’acquiescientia in se ipso, serait en fait irrealisable. Concevoir ainsi le conatus donne la latitude dont Spinoza a besoin pour representer le desir irresistible que concoit Medee pour Jason comme contre-conatif et celle dont Medee a besoin pour en etre elle-meme pleinement consciente. (shrink)