The Safe by Design conceptual initiative being developed for nanomaterials offers a template for a new sustainable innovation approach for advanced materials with four important sustainability characteristics. Firstly, it requires potential toxicity risks to be evaluated earlier in the innovation cycle simultaneously with its chemical functionality and possible commercial applications. Secondly, it offers future options for reducing animal laboratory testing by early assessment using in silico predictive toxicological approaches, minimizing the number that reaches in vitro and in vivo trials. Thirdly, (...) it promotes a culture of shared responsibility for ethical and sustainable outcomes in the innovation process by promoting early dialogue between groups with vested interests. Finally, it offers the prospect of a more democratized innovation process by including civil society actors in decisions on product safety, commercial applications, and social utility. Collectively, these four characteristics offer the prospect for a new social contract between science, technology, and society for the societal alignment and sustainable innovation of advanced materials. (shrink)

David Conner’s 2022 AFHVS Presidential Address discusses the importance for transdisciplinary partnerships among varied scholars and the co-creation of new knowledge. He suggests that without such co-creation, we will fail to solve wicked problems such as food system sustainability. In this essay, Kelinsky-Jones focuses on requisite changes among universities and federal funding alike to advance food system transformation sustainability and equitably. She argues that without prioritizing transdisciplinary partnerships grounded in principles of epistemic inclusion, we will fail to envision and (...) enact requisite food system transformation. Kelinsky-Jones directs her argument first toward land grant universities by urging them to prioritize agroecology as a transdisciplinary approach of pursuing epistemically inclusive science with society. She offers recommendations for teaching, research, and extension practice. Subsequently, recognizing that funders and universities often work in tandem, Kelinsky-Jones closes with three recommendations derived from her research for how the United States Agency for International Development may equally support and prioritize agroecology. (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.

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.

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)

The second play of the trilogy begins with the appearance before Agamemnon's tomb of the long-absent Orestes, who prays to Hermes for aid in his revenge and then dedicates upon the tomb a lock of hair cut from his own head. He is interrupted by the entrance of Electra together with the captive women who form the Chorus; in consequence of an evil dream, Clytemnestra has sent them to pour a libation to the spirit of her murdered husband. After discussion (...) with the Chorus, Electra resolves to accompany that libation not with words of appeasement, but with a prayer for her father's help in taking revenge upon his murderers. Going to the tomb to pour the libation, she notices upon it the lock put there by Orestes . She notices that the hair is like her own, and at once suspects that it may be her brother's. ‘How can he have dared to come here?’ the Chorus ask her ; and she replies that he must have sent the lock from his place of exile. The thought that Orestes' return is impossible plunges both the Chorus and Electra into deep sorrow, and in tears Electra broods over the lock . It can belong only to Orestes; she wishes it could speak, so that either she could know it not to be his, or else it could at least take part with her in mourning. At this point, if we cantrusttheone manuscript, Electra breaks off her reflections with a prayer . ‘But we call upon the gods,’ she says, ‘well do they know by what storms, like sailors, we are buffeted; but if we are fated to find safety, from a small seed may grow a mighty trunk.’ Next, if we are to trust what is transmitted, Electra catches sight of a new indication of her brother's presence. ‘Yes, and here are tracks,’ she says , ‘a second indication, the tracks of feet matching each other and resembling mine. Yes, for here are two outlines of feet, his own and those of some companion. The heels and the outlines of the tendons agree in their proportions with my prints. I am in torment, and my wits are confounded.’. (shrink)

Dr. G. S. Kirk has suggested that the last line of this fragment represents the bridegroom as being ‘fantastically ithyphallic’. This seems quite likely; but it would be more so if a parallel for the unusual use of the expression ‘a great man’ that it involves could be adduced.

Antigone and Ismene know that the situation of their father's grave must remain a secret to all except Theseus; but Antigone cannot help suggesting to her sister that they make their way back in the hope of setting eyes upon the burial place of Oedipus. How, Ismene asks her, can this be right in the sight of heaven? θμις δ πς τάδ'στί; μν | οχ ρις.