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Aeschylus' imagery has for some time now been discussed as a feature of his dramatic technique which does more than merely adorn his work. Lebeck, for example, has described how images articulate the Oresteia: The images of the Oresteia are not isolated units which can be examined separately. Each one is part of a larger whole: a system of kindred imagery. They are connected to one another by verbal similarity rather than verbal duplication. Formulaic repetition is rare, except in the (...) cases of single ‘key’ words; it is replaced by associative or reminiscent repetition. Such repetition may evoke several different passages, yet correspond exactly to none. Each occurrence adds a new element to those with which it is associated. Often this expansion will be a blend of two images previously separate, preserving features reminiscent of both. In this way the different systems of imagery are intricately interwoven. The significance of a recurrent image unfolds in successive stages, keeping time with the action of the drama. (shrink)

When Barthes starts to conceptualize his courses at the Collège de France, he envisions a methodology which he actually considers to be an ‘anti-method’, that is to say, an ‘unscientific’ method which goes against the grain of traditional education. He pursues the method of his seminars at the École Pratique des Hautes Etudes, especially the seminar that ended up with the publication of A Lover's Discourse. In the conclusion to the seminar, Barthes turns to Nietzsche to ground this ‘anti-method’ and (...) to substantiate his claim that literature is a vital dimension of his research and teaching. In the introductory session of Comment vivre ensemble, Barthes labels this ‘anti-method’ – once more with the help of Nietzsche – ‘paideia’. This article aims to scrutinize the scope, the potentialities and the risks of this Greek word to Barthes's theory and ideas on life, criticism and literature. (shrink)

The title of this volume A Man of Many Interests: Plutarch on Religion, Myth, and Magic. Essays in honour of Aurelio Pérez Jiménez is first and foremost a coalescing homage to Plutarch and to Aurelio, and to the way they have been inspiring (as master and indirect disciple) a multitude of readers in their path to knowledge, here metonymically represented by the scholars who offer their tribute to them. The analysis developed throughout the several contributions favors a philological approach of (...) wide spectrum, i.e., stemming from literary and linguistic aspects, it projects them into their cultural, religious, philosophical, and historical framework. The works were organized into two broad sections, respectively devoted to the Lives and to the Moralia. Contributors are: Frances Titchener, Carlos Alcalde Martín, José Luis Calvo, Delfim Leão, Judith Mossman, Anastasios G. Nikolaidis, Christopher Pelling, Philip Stadter, Paola Volpe, Francesco Becchi, Israel Muñoz Gallarte, Lautaro Roig Lanzillotta, Geert Roskam, Vicente M. Ramón Palerm, Frederick Brenk, John Dillon, Franco Ferrari, Aristoula Georgiadou, Luc van der Stockt, Luisa Lesage Gárriga. (shrink)