La plus grande épave du Ve s. av. J.-C. connue à ce jour a été découverte récemment au large de l'île d'Alonnissos, dans les Sporades du Nord. Le navire, chargé d'une cargaison de vin, sombra durant le dernier quart du Ve s. av. J.-C. par 30 m de profondeur. Il était chargé d'amphores vinaires de la ville de Mendè, sur la côte de Macédoine, et de l'île de Skopélos, célèbres toutes deux dans l'Antiquité pour la qualité de leur vin, exporté (...) dans toute la Méditerranée et jusqu'en mer Noire. Le navire transportait aussi une abondante vaisselle de banquet à vernis noir d'origine athénienne. Les navires d'époque classique précédemment découverts en Grèce, à Chypre, en France, en Italie et en Israël ne dépassaient pas 17 m de long et 4 m de large. L'épave d'Alonnissos mesure au moins 25 m de long et 10 m de large : elle constitue le premier témoignage archéologique de l'existence en Méditerranée dès le Ve s. av. J.-C. de bateaux marchands jaugeant plus de 100 tonnes. (shrink)

I propose a neuroscience and animat research-inspired model and a thought experiment to test the hypothesis of a developmental relation between fluid and crystallized intelligence. I propose that crystallized intelligence is the result of well-defined activities and structures, whereas fluid intelligence is the physiological catalytic adaptation mechanism responsible for coordinating and regulating the crystallized structures. We can design experiments to reproduce exemplified normal and anomalous phenomena, especially disorders, and study possible cognitive treatments. (Published Online April 5 2006).

We challenge and extend Ainslie's top-down view of willpower as a dual function, resolve and suppression. Instead, we propose an alternative self-organizational view of the motivational system as a network of urges, incentives, drives, and so on that interact dynamically. With such a view, resolve, suppression, and other functions emerge under certain environmental and social conditions for certain personality profiles.

In lieu of an abstract, here is a brief excerpt of the content:Manos HadjidakisThe Story of an Anarchic Youth and a "Magnus Eroticus"Yiannis MiralisThe name of Manos Hadjidakis is probably unknown to contemporary musicians and music educators. After all, the Greek composer achieved his international fame back in 1961 when he won an Oscar for his soundtrack of the movie, "Never on Sunday." Numerous other awards followed from England, France, Germany, and of course, Greece. After his six years in New (...) York City (1966-1972), the composer returned to Greece where he produced a wealth of diverse musical work and had a profound impact on every aspect of Greek cultural life.Through his radio lectures, the notes on the covers of his records, and his articles in a variety of magazines and newspapers, he expressed his often radical ideas without any fear, but with honesty and passion. His commentaries covered a wide variety of topics such as music, poetry, and the arts, politics and nationalism in art, music education, tradition and change, and the overall cultural problems and dilemmas of his time. The magnitude of his musical and artistic work is yet to be fully discovered and appreciated.In this paper, I will provide a biography of Manos Hadjidakis with a closer [End Page 43] examination and description of his multifaceted work. Through this attempt, a better understanding of who Hadjidakis was and the impact that he had on the musical and cultural life of modern-day Greece will emerge. I decided to use numerous direct quotes from Hadjidakis' books and interviews not only because he eloquently expresses his thoughts and ideas, but also because through these quotes one can get a clear sense of his humor, intellect, and personality. This paper may also serve as food for thought for music educators in and outside of Greece. I say this because much of his work and thought remains unknown to the general public, as well as to music performers and educators. Unfortunately, to some extent this is true even in his own home country of Greece. Even though Hadjidakis was not a music educator in the specific sense of the term, many of the things that he fought for and achieved in his life had an identifiable educational component in them. For example, before each of the performances of the Orchestra of Colors that he founded and conducted, Hadjidakis always gave elaborate lectures on the composers and on the works to be performed at the amphitheatre of the Medical School of the University of Athens. Overall, if we use the Oxford English Dictionary's definition of "education" as "culture or development of powers, formation of character, as contrasted with the imparting of mere knowledge or skill,"1 Hadjidakis can be regarded as a true educator and many of his ideas have a direct implication for music education and education in general. This is what I will examine in the second part of this paper, focusing especially on his ideas on Eros and the importance of song.Hadjidakis' ChildhoodHadjidakis was born on October 23, 1925 in the city of Xanthi in northern Greece. The city was thriving due to the local cultivation and sale of tobacco. His father was a tobacco merchant and his family was initially well off and able to pay for his piano lessons. After the death of his father in 1931, when Hadjidakis was only six years old, the family moved to Athens where he attended high school at nighttime, while working various jobs during the day.During World War II Hadjidakis became involved in a number of political organizations and simultaneously took lessons in diction in order to realize his dream of becoming an actor. However, because he had difficulty pronouncing the letter "r," he had to turn his attention and creativity away from acting and in a different direction. Additionally he received some formal training in classical music, but according to his own words,[m]y relationships with formal music studies were extremely similar to my relationships with dentists; I always approached them and always left them before the end of the treatment. When I was eighteen years old I gave up [End Page 44] music and I surrendered myself to poetry. When... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Manos HadjidakisThe Story of an Anarchic Youth and a "Magnus Eroticus"Yiannis MiralisThe name of Manos Hadjidakis is probably unknown to contemporary musicians and music educators. After all, the Greek composer achieved his international fame back in 1961 when he won an Oscar for his soundtrack of the movie, "Never on Sunday." Numerous other awards followed from England, France, Germany, and of course, Greece. After his six years in New (...) York City (1966-1972), the composer returned to Greece where he produced a wealth of diverse musical work and had a profound impact on every aspect of Greek cultural life.Through his radio lectures, the notes on the covers of his records, and his articles in a variety of magazines and newspapers, he expressed his often radical ideas without any fear, but with honesty and passion. His commentaries covered a wide variety of topics such as music, poetry, and the arts, politics and nationalism in art, music education, tradition and change, and the overall cultural problems and dilemmas of his time. The magnitude of his musical and artistic work is yet to be fully discovered and appreciated.In this paper, I will provide a biography of Manos Hadjidakis with a closer [End Page 43] examination and description of his multifaceted work. Through this attempt, a better understanding of who Hadjidakis was and the impact that he had on the musical and cultural life of modern-day Greece will emerge. I decided to use numerous direct quotes from Hadjidakis' books and interviews not only because he eloquently expresses his thoughts and ideas, but also because through these quotes one can get a clear sense of his humor, intellect, and personality. This paper may also serve as food for thought for music educators in and outside of Greece. I say this because much of his work and thought remains unknown to the general public, as well as to music performers and educators. Unfortunately, to some extent this is true even in his own home country of Greece. Even though Hadjidakis was not a music educator in the specific sense of the term, many of the things that he fought for and achieved in his life had an identifiable educational component in them. For example, before each of the performances of the Orchestra of Colors that he founded and conducted, Hadjidakis always gave elaborate lectures on the composers and on the works to be performed at the amphitheatre of the Medical School of the University of Athens. Overall, if we use the Oxford English Dictionary's definition of "education" as "culture or development of powers, formation of character, as contrasted with the imparting of mere knowledge or skill,"1 Hadjidakis can be regarded as a true educator and many of his ideas have a direct implication for music education and education in general. This is what I will examine in the second part of this paper, focusing especially on his ideas on Eros and the importance of song.Hadjidakis' ChildhoodHadjidakis was born on October 23, 1925 in the city of Xanthi in northern Greece. The city was thriving due to the local cultivation and sale of tobacco. His father was a tobacco merchant and his family was initially well off and able to pay for his piano lessons. After the death of his father in 1931, when Hadjidakis was only six years old, the family moved to Athens where he attended high school at nighttime, while working various jobs during the day.During World War II Hadjidakis became involved in a number of political organizations and simultaneously took lessons in diction in order to realize his dream of becoming an actor. However, because he had difficulty pronouncing the letter "r," he had to turn his attention and creativity away from acting and in a different direction. Additionally he received some formal training in classical music, but according to his own words,[m]y relationships with formal music studies were extremely similar to my relationships with dentists; I always approached them and always left them before the end of the treatment. When I was eighteen years old I gave up [End Page 44] music and I surrendered myself to poetry. When... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 84-88 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Jason Helfer University of Illinois There are two issues that struck me as essential from my consideration of Miralis'paper and the ideas of Manos Hadjidakis: Eros as a pedagogical idea and learner interactions in the music classroom. These ideas developed from (...) my interpretation of this paper, from my experiences in teacher training, and teaching in the public schools. I will examine each in turn, after a brief recapitulation of Hadjidakis' ideology.Hadjidakis' ideas were shaped through reaction against much of the work that took place within traditional musical conservatories and the larger Greek culture. They were also shaped by "his close friendships and collaborations with other poets, composers, and artists." Hadjidakis articulated his reactionary ideas not only through sound (that is, composition and performances), but also through the larger media. The cultural content of the broadcasting services in Greece leaves much to be desired although, as head of the radio Third Programme... Manos Hadjidakis brought a breath of fresh air to the stuffy studios of the broadcasting [End Page 84] organizations with talks, readings, discussion programmes-and the highly original daily program This is Lilliput.1The intended result of this work clarifies one of Hadjidakis' fundamental assumptions: one should be led to a deeper understanding of the self and others, beauty and goodness through engagement and perpetual reflection within the arts. Miralis asserts that the idea of reflection and the resultant self-knowledge and growth are qualities to which a good educator should aspire. Central to this claim is the idea of Eros.2Eros can be problematic if narrowly defined. "The name Eros has been wrongly restricted in common speech to what is really only one form of this universal desire. Just as the word "making" really means creation of any kind but has been misappropriated to one species... so the name of Eros is misappropriated to one species of passion, but really means 'any and every desire for good things and happiness.'"3 My understanding of Hadjidakis' idea of Eros is best articulated in the exchange between Socrates and Diotima in Plato's Symposium.4 Plato's idea of Eros is that the individual moves through a series of stages with the help of another until one has a "complete" and "clear" understanding of the good or beautiful.5 He makes a distinction between the good and the beautiful when Diotima asks Socrates to substitute the word "good" for the word "beautiful."6 This is not merely a change in semantic. Rather, it is a necessary transformation insofar as it emphasizes that a good thing may not be physically beautiful, but still considered good (such as the historical Socrates). The transcendence of the beautiful leading toward the "pure" good is an essential step in obtaining the Platonic understanding of Eros. "The state of mind of the philosopher who has attained knowledge of the good or of beauty is a desire to make beauty or goodness present wherever possible to a higher degree, it is not a desire to just to look at goodness or beauty. It is rather a desire to take anything that is partially good or partially beautiful and to make it more good or more beautiful."7 For Hadjidakis, the necessary quest for goodness and beauty was evident in the creation, combining, and sharing of poetry and music. This idea was not only apparent in his musical creations, but also in his work in the socio/political arena.Further, the Symposium begins as a series of speeches on the subject of love, but "Plato makes the word eros bear a burden far in excess of anything it had ever been made to bear; and the 'love' which he goes on to portray strains the language of eros almost out of recognition."8 However, love is not forgotten; rather "'Love'... is to mean not only the whole complex of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 84-88 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Jason Helfer University of Illinois There are two issues that struck me as essential from my consideration of Miralis'paper and the ideas of Manos Hadjidakis: Eros as a pedagogical idea and learner interactions in the music classroom. These ideas developed from (...) my interpretation of this paper, from my experiences in teacher training, and teaching in the public schools. I will examine each in turn, after a brief recapitulation of Hadjidakis' ideology.Hadjidakis' ideas were shaped through reaction against much of the work that took place within traditional musical conservatories and the larger Greek culture. They were also shaped by "his close friendships and collaborations with other poets, composers, and artists." Hadjidakis articulated his reactionary ideas not only through sound (that is, composition and performances), but also through the larger media. The cultural content of the broadcasting services in Greece leaves much to be desired although, as head of the radio Third Programme... Manos Hadjidakis brought a breath of fresh air to the stuffy studios of the broadcasting [End Page 84] organizations with talks, readings, discussion programmes-and the highly original daily program This is Lilliput.1The intended result of this work clarifies one of Hadjidakis' fundamental assumptions: one should be led to a deeper understanding of the self and others, beauty and goodness through engagement and perpetual reflection within the arts. Miralis asserts that the idea of reflection and the resultant self-knowledge and growth are qualities to which a good educator should aspire. Central to this claim is the idea of Eros.2Eros can be problematic if narrowly defined. "The name Eros has been wrongly restricted in common speech to what is really only one form of this universal desire. Just as the word "making" really means creation of any kind but has been misappropriated to one species... so the name of Eros is misappropriated to one species of passion, but really means 'any and every desire for good things and happiness.'"3 My understanding of Hadjidakis' idea of Eros is best articulated in the exchange between Socrates and Diotima in Plato's Symposium.4 Plato's idea of Eros is that the individual moves through a series of stages with the help of another until one has a "complete" and "clear" understanding of the good or beautiful.5 He makes a distinction between the good and the beautiful when Diotima asks Socrates to substitute the word "good" for the word "beautiful."6 This is not merely a change in semantic. Rather, it is a necessary transformation insofar as it emphasizes that a good thing may not be physically beautiful, but still considered good (such as the historical Socrates). The transcendence of the beautiful leading toward the "pure" good is an essential step in obtaining the Platonic understanding of Eros. "The state of mind of the philosopher who has attained knowledge of the good or of beauty is a desire to make beauty or goodness present wherever possible to a higher degree, it is not a desire to just to look at goodness or beauty. It is rather a desire to take anything that is partially good or partially beautiful and to make it more good or more beautiful."7 For Hadjidakis, the necessary quest for goodness and beauty was evident in the creation, combining, and sharing of poetry and music. This idea was not only apparent in his musical creations, but also in his work in the socio/political arena.Further, the Symposium begins as a series of speeches on the subject of love, but "Plato makes the word eros bear a burden far in excess of anything it had ever been made to bear; and the 'love' which he goes on to portray strains the language of eros almost out of recognition."8 However, love is not forgotten; rather "'Love'... is to mean not only the whole complex of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 80-83 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Lenia Serghi Ionian University, Corfu Manos Hadjidakis and his work are like his song, "O Mythos," for they take you from reality to fantasy and bring you back again. For my generation Hadjidakis was a myth with substance, since he was (...) a real person and his work represented our reality.The first time I heard of Hadjidakis was in relation to his song, "The Children of Pireas," that won him an Oscar for Best Song in 1960-61 as the main theme of his music for the film, Never on Sunday. The first record, a 45-single in the early 1960s, aroused a strong emotional response in the youth of the time.My next and most important experience with Hadjidakis' music was in London during the International Theatre Festival in the Spring of 1964. The Art Theatre of Greece under the Direction of the acclaimed Karolos Koun gave its first performances outside Greece. They presented Aristophanes' comedy, The Birds, and the Aeschylean tragedy, The Persaes. After forty years these performances are still topics of discussion in theater and musical circles. The performance of The Birds took the audience by surprise. The strong, vivid rhythm with the superb [End Page 80] melodies and the chorus filling the stage with its movements and dance gave a new perspective to the production of ancient comedy and drama. The audience was exuberant and the clapping went on without end. It was the unveiling of a new world of music for the theater, a music which could create strong emotions.Perhaps one of the most important works of Hadjidakis is the cycle of songs, The Megalos Eroticos-Magnus Eroticus, composed in 1972 for two voices, choir, and twelve instruments. The song cycle consists of eleven songs based on the lyrics of Greek poets from antiquity till the present time, like Sappho, Euripides, Solomos, Sepheris, Gatsos, Elytis, and Kavafis. Included in the collection is the famous poem, "S'agapo" [I love you], by Myrtiotissa, one of the important women poets of the twentieth century, which according to Hadjidakis was his inspiration for writing Magnus Eroticus. As he says: I think I succeeded [in creating] a beautiful piece of work, and deeply, it belongs to her as a whole. If Magnus Eroticus belongs to somebody it belongs to the memory of Myrtiotissa.1In Magnus Eroticus the combination of lyrics and music is at the highest level of sensibility and the musical style of each song is superb. Music follows the verse to express its deepest meaning while maintaining its uniqueness. In 1973, Pantelis Voulgaris made Magnus Eroticus into a film of the same title.Without doubt Hadjidakis was one of the troubadours of love; in fact he considered himself as a tragoudopoios. Etymologically tragoudopoios comes from the words tragoudi (song) and the verb poio (make, create), and is the root of the word poieses (poetry). A tragoudopoios could be a follower of the rhapsodoi of Homer's time, or the troubadours of medieval times who created songs.In my view, the comparison made by some critics of Hadjidakis' songs with those of Schubert and Brahms is not so successful, especially for the songs written in the 50s, 60s, and 70s, songs that were very popular and represented the reality of Greek life of that period. Similarities to these composers may exist in his later work of the 80s, when his style of art song had become more sophisticated.As a person and composer, Hadjidakis himself could be considered a Magnus Eroticus. I am not sure, though, that he could be considered an anarchist, as Miralis suggests. As Hadjidakis used to say, "[P]erhaps I would have been an anarchist if I didn't have my mother." I would say he was more a lover of democracy in its wider sense.One could say, perhaps, that Hadjidakis was an anarchist in spirit... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 80-83 [Access article in PDF] Response to Yiannis Miralis, "Manos Hadjidakis: The Story of an Anarchic Youth and a 'Magnus Eroticus'" Lenia Serghi Ionian University, Corfu Manos Hadjidakis and his work are like his song, "O Mythos," for they take you from reality to fantasy and bring you back again. For my generation Hadjidakis was a myth with substance, since he was (...) a real person and his work represented our reality.The first time I heard of Hadjidakis was in relation to his song, "The Children of Pireas," that won him an Oscar for Best Song in 1960-61 as the main theme of his music for the film, Never on Sunday. The first record, a 45-single in the early 1960s, aroused a strong emotional response in the youth of the time.My next and most important experience with Hadjidakis' music was in London during the International Theatre Festival in the Spring of 1964. The Art Theatre of Greece under the Direction of the acclaimed Karolos Koun gave its first performances outside Greece. They presented Aristophanes' comedy, The Birds, and the Aeschylean tragedy, The Persaes. After forty years these performances are still topics of discussion in theater and musical circles. The performance of The Birds took the audience by surprise. The strong, vivid rhythm with the superb [End Page 80] melodies and the chorus filling the stage with its movements and dance gave a new perspective to the production of ancient comedy and drama. The audience was exuberant and the clapping went on without end. It was the unveiling of a new world of music for the theater, a music which could create strong emotions.Perhaps one of the most important works of Hadjidakis is the cycle of songs, The Megalos Eroticos-Magnus Eroticus, composed in 1972 for two voices, choir, and twelve instruments. The song cycle consists of eleven songs based on the lyrics of Greek poets from antiquity till the present time, like Sappho, Euripides, Solomos, Sepheris, Gatsos, Elytis, and Kavafis. Included in the collection is the famous poem, "S'agapo" [I love you], by Myrtiotissa, one of the important women poets of the twentieth century, which according to Hadjidakis was his inspiration for writing Magnus Eroticus. As he says: I think I succeeded [in creating] a beautiful piece of work, and deeply, it belongs to her as a whole. If Magnus Eroticus belongs to somebody it belongs to the memory of Myrtiotissa.1In Magnus Eroticus the combination of lyrics and music is at the highest level of sensibility and the musical style of each song is superb. Music follows the verse to express its deepest meaning while maintaining its uniqueness. In 1973, Pantelis Voulgaris made Magnus Eroticus into a film of the same title.Without doubt Hadjidakis was one of the troubadours of love; in fact he considered himself as a tragoudopoios. Etymologically tragoudopoios comes from the words tragoudi (song) and the verb poio (make, create), and is the root of the word poieses (poetry). A tragoudopoios could be a follower of the rhapsodoi of Homer's time, or the troubadours of medieval times who created songs.In my view, the comparison made by some critics of Hadjidakis' songs with those of Schubert and Brahms is not so successful, especially for the songs written in the 50s, 60s, and 70s, songs that were very popular and represented the reality of Greek life of that period. Similarities to these composers may exist in his later work of the 80s, when his style of art song had become more sophisticated.As a person and composer, Hadjidakis himself could be considered a Magnus Eroticus. I am not sure, though, that he could be considered an anarchist, as Miralis suggests. As Hadjidakis used to say, "[P]erhaps I would have been an anarchist if I didn't have my mother." I would say he was more a lover of democracy in its wider sense.One could say, perhaps, that Hadjidakis was an anarchist in spirit... (shrink)