In lieu of an abstract, here is a brief excerpt of the content:Valla Grammaticus, Agostino Steuco, and the Donation of ConstantineRonald K. DelphRecent studies dealing with Lorenzo Valla's treatise on the Donation of Constantine have provided us with a profound understanding of the revolutionary nature of this work. Scholars have rightly seen the De falso credita et ementita Constantini donatione (1440) as one of Valla's earliest attempts to apply the principles of Quintilian's rhetoric to textual scholarship. Valla followed Quintilian (...) both in the structure of his arguments against the authenticity of the actions described in the Donation, as well as in the critical tools that he employed while attacking the language found in the text itself.1 In his use of philology and grammar as analytical tools and in his perception that historical development was reflected by changes in linguistic style and word meaning, Valla closely followed Quintilian.2 [End Page 55]The scholarly methodology employed in this work helped Valla lay the foundations for his radical reorientation of the ars rhetorica in which he established philology, grammar, and historical perspective as essential components of his textual scholarship. Using the principles of rhetoric that Quintilian laid out in his Institutio oratoria, Valla sought to broaden the scope of humanist critical activity and present humanists with several key elements with which to engage in linguistic and textual studies.3 The significance of what he had accomplished was clear to the Roman humanist. In December 1443 he boasted to Giovanni Aurispa that "I have never written anything more oratorical than my oration" on the Donation of Constantine.4 Valla here expressed his belief that his treatise had succeeded in incorporating the strictures and theories espoused in Quintilian's work into a viable humanist program of textual and linguistic scholarship.Valla's De Constantini donatione is of undeniable importance for understanding his early development as a humanist textual critic and language philosopher. But what has escaped most historians is the oration's problem of methodology, and the deficiencies of philology and grammar as tools of textual criticism in this work. To put it bluntly, scholars, while focusing on the promising innovations found there, have consistently ignored what by later standards would be considered the serious methodological flaws in Valla's treatise. The Vallian ars rhetorica as articulated in this work by no means presented a model from which later humanists would derive the foundations of modern textual criticism. By the late fifteenth and early sixteenth centuries, textual scholars had shown the inadequacies of the methodology Valla employed in this treatise. In fact the best humanist scholars of the period approached the task of textual criticism and manuscript emendation using procedures that were essentially at odds with the philological, grammatical critique used in this work.5While most modern historians have overlooked the scholarly shortcomings of Valla's treatise, the sixteenth century produced one critic who raised serious questions about the scholarship underlying the critique of the Donation. Twice in his lifetime, the Italian humanist Agostino Steuco (1497-1548) [End Page 56] published significant replies to Valla. First in his Pro religione christiana adversus Lutheranos (1530), and then in his Contra Laurentium Vallam de falso donatione Constantini libri duo (1547), Steuco raised substantial objections to a number of Valla's philological, grammatical, and historical arguments against the authenticity of the edict.6In each treatise Steuco's textual scholarship on the Donation formed part of a larger effort on his part to defend the cultic practices, institutions, and hierarchy of the late medieval church against the reformers. As he made clear in both works, he believed that Valla's attacks upon the papacy and Donation put him in league with Luther and Erasmus in undermining respect for the papacy in the early sixteenth century. While these two works recently have proved to be of great interest to historians of religion and reform in sixteenth-century Italy, I shall confine the present analysis to Steuco's scholarship on the Donation.Taking direct aim at Valla's philological and grammatical analysis of the language of the Donation, Steuco repeatedly characterized Valla as being nothing more than a "grammarian."7 Valla had blundered badly in his analysis, Steuco pointed out, by ignoring the first... (shrink)

Augustine’s De Magistro, an early work, is cast as a dialogue between himself and his bright son Adeodatus. It leads from a discussion whether teaching is effected through signs to the conclusion that words are not a route to knowledge, unless the soul is taught by God, the only teacher. Although Augustine is mainly concerned to develop his new theory of signification, the dialogue is set in the frame of traditional grammatical teaching, which had become standard in later Roman antiquity. (...) These elements of grammatical education make a good starting point for exploring what precisely was Augustine’s position within this system. Taking into consideration especially his definition of pronomen and the eight parts of speech we come to the conclusion that Augustine as a grammarian is dependent on Charisius and his teacher. (shrink)

Philoxenus of Cythera's dithyramb, Cyclops or Galatea, was a poem famous in antiquity as the source for the story of Polyphemus' love for the sea-nymph Galatea. The exact date of composition is uncertain, but the poem must pre-date 388 B.C., when it was parodied by Aristophanes in the parodos of Plutus , and probably, as we shall see below, post-dates 406, the point at which Dionysius I became tyrant of Syracuse . The Aristophanic parody of the work may well (...) point to a recent performance in Athens, perhaps the first, and it is hard to identify any more significant reason for mentioning the poem. Previous accounts of the poem have concentrated on two main points, its supposed satirical purpose, and the possibly dramatic nature of its performance, but there has been no attempt to consider these two points in relation to each other, or to assess in detail the value of the source-material. I argue that although there is some evidence to support the satirical reading of the poem, the main value of this tradition is that it reveals Philoxenus' comic treatment of his subject, and that while the Galatea motif has previously been considered the essential element in this comic treatment, it was probably a small part of the plot, perhaps only briefly alluded to. Finally I provide reasons for doubting the prevalent view that the performance included dramatic elements. (shrink)

Scheherazade Or the Future of the English Novel John Carruthers Originally published in 1928 "A brilliant essay…" Daily Herald A survey of contemporary fiction in England and America lends to the conclusion that the literary and scientific influences of the last fifty years have combined to make the novel of today predominantly analytic. The author argues that it has therefore gained in psychological subtlety, but lost its form and how this may be regained is put forward in the conclusion. 90pp (...) Thamyris Or Is There a Future for Poetry? R C Trevelyan Originally published in 1925 "Learned, sensible and very well-written." New Statesman This volume examines the possibilities of development for modern poetry. 90pp Saxo Grammaticus First Aid for the Best-Seller Ernest Weekley Originally published in 1930 "A very shocking collection of vile phrases from contemporary writers." Daily News Authored by the philologist Ernest Weekley, this volume represents the original emergency grammar manual for time-pressed best-selling writers. 88pp Deucalion Or the Future of Literary Criticism Geoffrey West Originally published in 1930 This book discusses the true function of criticism and asks how modern criticism is performing it. 86pp. (shrink)

This article identifies a papyrus in Warsaw, P.Vars. 6, as a fragment of the large Latin–Greek glossary known as Ps.-Philoxenus. That glossary, published in volume II of G. Goetz's Corpus Glossariorum Latinorum on the basis of a ninth-century manuscript, is by far the most important of the bilingual glossaries surviving from antiquity, being derived from lost works of Roman scholarship and preserving valuable information about rare and archaic Latin words. It has long been considered a product of the sixth (...) century a.d., but the papyrus dates to c.200, and internal evidence indicates that the glossary itself must be substantially older than that copy. The Ps.-Philoxenus glossary is therefore not a creation of Late Antiquity but of the Early Empire or perhaps even the Republic. Large bilingual glossaries in alphabetical order must have existed far earlier than has hitherto been believed. (shrink)

The bilingual Philoxenus Glossary drew some of its materials from Festus de Signif. Verb. and occasionally mentions his name. Its Festus glosses have been collected in a Jena dissertation by Dammann. The Abolita Glossary seems to have begun with Festus excerpts. Before we can glean from these two glossaries every available scrap of evidence about Festus, we must try to complete and correct them. For of the Philoxenus Glossary we have practically only one MS., and that of the (...) ninth century. It must have omitted many items and perverted the words of many others. The Abolita Glossary was associated with another, the Abstrusa Glossary , in Spain, and this composite collection passed into Italy. The MSS. are, we may say, only two, and of each a certain number of leaves are missing. The older and better MS. , an uncial codex of the eighth century, was written apparently in Central Italy; the other was written two centuries later at Monte Cassino. They show us Abol. not in its original form, but rearranged in a not too strict alphabetical order . The St. Gall Glossary was compiled from Philox., the composite Abstr.-Abol., and supplies some of those Festus glosses of Philox. and Abol. which are omitted in our MSS. It seems to have been a Bobbio compilation . Our best MS. was written in rude uncials at St. Gall in the eighth century. (shrink)

This groundbreaking monograph on Bardaisan, his relation to Origen, and his Middle Platonic framework has argued, through a painstaking analysis of all evidence, that Bardaisan was a Christian Middle Platonist, a philosophical theologian who built a Logos Christology, possibly the first supporter of apokatastasis, and there is a close relation between Origen, Bardaisan, their thought, and their traditions [further proofs in an edition with essays: Mohr Siebeck, forthcoming]. This monograph (and a related HTR essay) was received far beyond the field (...) of patristics, among others by P. Crone (Princeton IAS). * Dedication Page (page 5) * Table of Contents (page 7) * Preface (page 11) * 1 By way of Introductory Essay: Methodological Guidelines (page 17) * 2 Critical and Comparative Analysis of the Sources (page 45) o 1 The Very First Possible Witness: Clement (page 45) o 2 Two Early Witnesses Close to Origen and Very Appreciative of Bardaisan: Africanus and Didymus (page 46) + 2.1 Julius Africanus’ Acquaintance with both Bardaisan and Origen (page 46) + 2.2 The Origenian Didymus the Blind: The Most Appreciative Source on Bardaisan (page 56) o 3 Hippolytus (page 62) o 4 The Liber Legum Regionum (page 70) o 5 Porphyry and the Utmost Importance of His Fragments from Bardaisan: The Cosmic Christ, Middle Platonism, and a Christian Reading of the Timaeus (page 107) + 5.1 The Fragments from Bardaisan’s De India in Porphyry’s De Styge (page 107) + 5.2 Bardaisan’s Work in Porphyry’s De Abstinentia (page 124) o 6 Achilles Tatius and the Knowledge of Bardaisan in Late-Second-Century Alexandria (page 126) o 7 The Acts of Thomas (page 127) o 8 A Very Positive Witness: the Origenian Eusebius (page 131) o 9 The Origenian Gregory of Nyssa and His Own Work Against Fate (page 138) o 10 Diodore of Tarsus and His Closeness to Origens Eschatology and Refutation of Fate (page 142) o 11 Bardaisan’s Fight Against Marcionism (page 161) o 12 Jerome’s Parallel Turn: From Admirer to Criticizer of both Origen and Bardaisan (page 164) o 13 The Dialogue of Adamantius and the Portrait of a Bardaisanite (page 168) o 14 Ephrem between Documentation and Misunderstandings (page 172) o 15 Transition: The Transformation and Worsening of Bardaisan’s Image (page 254) o 16 Epiphanius’ Information: A ‘Mixed Bag’ (page 255) o 17 Two Heresiological Accounts Deriving from Epiphanius’ (page 261) o 18 Sozomen (page 262) o 19 Theodoret’s Account (page 266) o 20 Interesting Clues in a Very Appreciative Armenian Witness: Moses of Chorene (page 269) o 21 Philoxenus of Mabbug, an Anonymous, Isho’dad, and the Assimilation of Bardaisan to Valentinus or Mani (page 303) o 22 Rabbula and Theodoret (page 307) o 23 Appreciation of Bardaisan in a Local Source: the Chronicon of Edessa (page 312) o 24 The So-Called Cosmological Traditions: Importance and Methodological Guidelines. Barhadbshabba ‘Arbaya, Plus Comparisons with (Ps.) Maruta and Jacob of Edessa (page 314) o 25 Theodore Bar Konai (page 328) o 26 Theodore Abû Qurra (page 338) o 27 Moses Bar Kepha (page 339) o 28 (Ps.) John of Dara (page 347) o 29 Agapius and the So-Called Third Cosmological Tradition (page 352) o 30 Michael the Syrian’s Cosmological Testimony (page 353) o 31 Barhebraeus’ Cosmological Account (page 354) o 32 Mutaman ad-Dawla (page 355) o 33 From the “Cosmological Traditions'' to Other Doxographies and the Biographical Accounts. Masudi’s Biographical Information (page 355) o 34 The Fihrist and Arabic Sources on Bardaisan’s Anti-Dualism (page 358) o 35 Michael the Syrian’s Biographical Account (page 366) o 36 Barhebraeus (page 374) o 3 Conclusions and Contribution to Research (page 379) o Essential Bibliographical References on Bardaisan (page 381) o Index (page 389) . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Recovering the Snorra Edda:On Playing Gods, Loki, and the Importance of HistoryMathias Moosbrugger (bio)Distinguamus ergo quam fidem debeamus historiae,quam fidem debeamus intellegentiae.—Augustinus, De vera religioneI.It might seem rather uncreative to those familiar with René Girard's thinking to deal with the story of the murder of Baldr as told in the Edda by Snorri Sturluson, one of the foremost representatives of the extraordinary poetic culture of medieval Iceland, from a (...) Girardian point of view. This is obviously because Girard himself has analyzed this story in detail in a chapter of his book The Scapegoat.1 Everything else could either be seen as an unnecessary addition to what has already been said—at most a contribution of interesting but in the end not substantial details—or a (perhaps hypercritical) objection to the mimetic theory as a whole from the viewpoint of another theoretical approach, in order to detect the heuristic or hermeneutical weaknesses of the mimetic theory. I do not intend to do either. Nevertheless, I will try to outline [End Page 105] a rereading of the Baldr-story that is quite different from and in some respects contrary to the interpretation suggested by Girard. I am, in fact, suggesting that, in order to understand the proper narrative structure and the inner hermeneutical dynamic of the story, it is fundamentally important to read it not solely paying attention to the phenomenological structure of the text, but in the first place attending to the historical context of its genesis. Luckily, this has been the object of historical research for many decades, and we are therefore provided with a solid fundament for the following considerations. I hope to show convincingly that only the application of historical research can enable us to reconstruct the actual essence of this story—something, by the way, that historical research itself has not yet been able to accomplish. Certainly, all this does not mean that we have to historicize the story itself, as, for example, Saxo Grammaticus did in his Gesta Danorum, but merely that we need to situate it—or rather, its author—in the proper historical context.2 And as the mimetic theory is not, as critics constantly claim, a quasi-totalitarian and mono-dimensional system that allows only one "dogmatic" interpretation of a story, it is possible to reinterpret texts already analyzed "formally correctly" by means of the mimetic theory without—I hope—becoming unfaithful to its main theoretical insights. By connecting a historical approach with the insights provided by mimetic theory, I intend to defend an author, Snorri Sturluson, who, I think, is greatly underestimated in Girard's interpretation of the Baldr-story (Girard does not even mention the author's name) and to recover the most profound hermeneutical value of his Edda, which has not yet been detected by historians. Snorri was a poetic genius, but it is not he who needs this defense; it is we who need it, because he is, as I want to show, an author with an incredible understanding of the socioanthropological powers that govern human society.II.It is useful to recapitulate Girard's interpretation in The Scapegoat; this requires in the first place a general overview of Snorri's Baldr-story itself.3 We all know the main elements of this story: Baldr, the best and most loved of all the gods, is, as dreams tell him, in danger of being killed. Odin, Baldr's father and the highest of all the gods, knows this and is also aware that this would be the beginning of the end of the world. So the Aesir prepare a strategy in order to prevent any such thing from happening: the goddess Frigg has all creatures take an oath that they will not do Baldr any harm—be it by fire, water, iron, metal, stones, earth, trees, diseases, animals, birds, poisons, or snakes. This [End Page 106] "all-in insurance" makes Baldr and his fellow gods slaphappy—in the truest sense of the word: assuming that nothing can ever hurt Baldr now, they stand around him and throw at him whatever comes to their minds or respectively their hands—and everything seems to... (shrink)

Editions of, translations of, and essays and commentaries on: Ancient Stoics (pp. 1-107), Apollodorus of Athens (pp. 111-217), Crates of Mallus (pp. 219-327), Palaephatus (pp. 329-365), authors De Incredibilibus (pp. 367-400), Conon (pp. 401-442), Cicero ND II-III (pp. 443-483), Cornutus (pp. 485-560), Heraclitus Grammaticus (pp. 561-669), Chaeremon (pp. 671-707), Ps. Plutarch, De Vita et Poesi Homeri (pp. 709-820), Plutarch, De Daedalis Plataeensibus (pp. 821-832); Cebetis Tabula (pp. 833-860), Philo of Byblus (pp. 861-896); Appendix: Derveni Papyrus (pp. 897-944).

Dichotomous Images in Ian McEwan's Saturday: In Pursuit of Objective Balance Saturday sets out to depict the contemporary world with its ambiguities and paradox. In the novel, like in a mirror painting, every event, character and conflict is highlighted from diverse, often contradictory, angles by the narrator's extensive commentary, flashback and reference to other books. The prevailing happiness of mass protests against the war on Iraq is countered by the recollection of mass graves, an element of Saddam's callous regime, the (...) real terrorist threat is contrasted with national paranoia, and the Prime Minister's performance of truthfulness is scrutinized by means of Paul Ekman's study of micro-expressions.The technique of dualistic depiction is further used in order to describe the characters. Reworking the idea of two sides of the same coin, McEwan offers the novel as a metaphorical study of the intricacies of human personality. Therefore, Baxter becomes simultaneously an offender and a victim, John Grammaticus turns from a successful poet into an alcoholic womanizer, and Lilian Perowne's physical and mental disintegration is contrasted with her past as a champion swimmer.McEwan's dichotomous description of the world echoes Barthes's binaries, not only in the duality itself, but also in the fact that the juxtaposition of contradictory images constitutes a more complete depiction of an event or a person. The contrast between the opposing ideas is further accentuated by the use of different jargons: the language of medicine, media, upper-class, working-class, and the like. The use of language throughout the novel seems to repeat the notion that by means of jargons people control and exclude others, highlighting their authority and constructing their position of supremacy.Saturday, which captures acutely the events of a single day in the life of a renowned neurosurgeon, Henry Perowne, presents issues, such as the terrorist threat or the creation of media reality, that appear international in consciousness. The essay illustrates how, with admirable artistry, McEwan incorporates meaningful images, visually complex descriptions and different kinds of language into a diary account, for readers to enjoy a more objective comment on the contemporary world. (shrink)

Saturday sets out to depict the contemporary world with its ambiguities and paradox. In the novel, like in a mirror painting, every event, character and conflict is highlighted from diverse, often contradictory, angles by the narrator's extensive commentary, flashback and reference to other books. The prevailing happiness of mass protests against the war on Iraq is countered by the recollection of mass graves, an element of Saddam's callous regime, the real terrorist threat is contrasted with national paranoia, and the Prime (...) Minister's performance of truthfulness is scrutinized by means of Paul Ekman's study of micro-expressions. The technique of dualistic depiction is further used in order to describe the characters. Reworking the idea of two sides of the same coin, McEwan offers the novel as a metaphorical study of the intricacies of human personality. Therefore, Baxter becomes simultaneously an offender and a victim, John Grammaticus turns from a successful poet into an alcoholic womanizer, and Lilian Perowne's physical and mental disintegration is contrasted with her past as a champion swimmer. McEwan's dichotomous description of the world echoes Barthes's binaries, not only in the duality itself, but also in the fact that the juxtaposition of contradictory images constitutes a more complete depiction of an event or a person. The contrast between the opposing ideas is further accentuated by the use of different jargons: the language of medicine, media, upper-class, working-class, and the like. The use of language throughout the novel seems to repeat the notion that by means of jargons people control and exclude others, highlighting their authority and constructing their position of supremacy. Saturday, which captures acutely the events of a single day in the life of a renowned neurosurgeon, Henry Perowne, presents issues, such as the terrorist threat or the creation of media reality, that appear international in consciousness. The essay illustrates how, with admirable artistry, McEwan incorporates meaningful images, visually complex descriptions and different kinds of language into a diary account, for readers to enjoy a more objective comment on the contemporary world. (shrink)

In the Classical Quarterly, XIX., pp. 192–3, in some remarks on the word celtis, I suggested that the Philoxenus gloss CE 23 was in reality a fusion of two glosses— Celtis : ȋνα Celtis : ίΧθύος εδος and I tried to show that the former was a Bible gloss from Job xix. 24. Since the appearance of my article it has been pointed out by Professor Housman, in a communication to Professor W. M. Lindsay, that I had overlooked the (...) kindred Philoxenus gloss SQ 4 ; and it would appear that, in view of this regrettable oversight, the division of the gloss CE 23 and the explanation of the first part as a Bible gloss is untenable. (shrink)

The purpose of the following notes is to draw attention to certain glosses in the Philoxenus glossary, and to discuss points arising out of them. The numeration of the glosses is that adopted in the forthcoming critical edition of this important bilingual dictionary.

The wholesome severity of publishers' regulations restricted the small Teubner edition of Festus almost to the actual text of the archetype MSS. of Festus and his epitomator Paulus. The flimsy material to be picked up from mediaeval glossaries was excluded from this small and solid structure and reserved for the ampler space and freer air of a second volume, a volume which should attempt a reconstruction of Festus from Paulus' excerpts, like an antiquarian's reconstruction of the Forum from the ruins (...) that now remain. In Goetz' Corpus Glossariorum Latinorum we have apographs of the chief MS. of each important glossary, and in his Thesaurus Glossarum Emendatarum we have all the glosses edited and arranged in dictionary form; but much spade-work has to be done before these glosses can be used by an editor of Festus. Some has been done already by a pupil of Goetz in a Jena dissertation , who shows the so-called Philoxenus Glossary to be compiled in part from Festus, and collects and emends its Festus glosses. Yet even this piece of work is not complete. For our unique MS. of Philox., a mere ninth-century MS. , is an imperfec record of that large bilingual collection which has left so many traces of itself in the glossaries of the British Isles and of those parts of the Continent which received English or Irish culture. The Ab Absens Glossary, for example, printed by Goetz from a North Frankish MS. of Charlemagne's time, has a number of Festus glosses from this collection which are not recorded in our MS. of Philox. and are accordingly ignored by Dammann. (shrink)

Καλλίμαχος τὸ κάθαρμα, τὸ παίγνιον, ὁ ξύλινος νοῦς,αἴτιος ὁ γράψας Αἴτια Καλλίμαχος.Callimachus [means] trash, trifle, wooden mind:the cause is the Callimachus who wroteCauses.This abusive epigram, probably composed in the first centuryc.e.by a certain Apollonius ‘Grammaticus’, has become famous on account of its false attribution to Apollonius of Rhodes and of its consequent identification as ‘evidence’ for the literary feud between Apollonius and Callimachus. Its literary features have attracted less interest. Cameron, for one, dismissed it, finding ‘no coherent literary thrust (...) to the polemic’. I argue here that this epigram in fact shows close engagement with the poetics of Callimachus and his language of literary self-definition. As we find in other anti-Callimachean epigrams, the author ofAnth. Pal.11.275 crafts his insults by appropriating and transforming several Callimachean terms of literary-aesthetic value, which he then directs back against their creator. (shrink)

_ Source: _Volume 53, Issue 2-4, pp 194 - 220 This paper offers an interpretation of Anselm of Canterbury’s semantic doctrines in _De Grammatico_, paying special attention to five distinctions present in the dialogue: _dicitur in eo quod quale/dicitur in eo quod quid, esse ut in subiecto/esse non ut in subiecto, significare/appellare, significare ut unum/significare non ut unum_ and _significare per se/significare per aliud_. It elucidates the theoretical role of these distinctions, showing that they are introduced with different purposes and (...) that conflation between them must be avoided. Three specific features of this interpretation are the following: an analysis of the distinction between _significare_ and _appellare_ in relation to the orders of intellection and predication, an account of the difference between predication _in eo quod quid/in eo quod quale_ and essential and accidental predication, and an analysis of the thesis that ‘_grammaticus_’ not only signifies _per se qualitas_, but also _per se habere_. (shrink)

[Alfred Hitchcock's] film is called North by Northwest. I assume that nobody will swear from that fact alone that we have here an allusion to Hamlet's line that he is but mad north-northwest; even considering that Hamlet's line occurs as the players are about to enter and that North by Northwest is notable, even within the oeuvre of a director pervaded by images and thoughts of the theater and of theatricality, for its obsession with the idea of acting; and considering (...) that both the play and the film contain plays-within-the-play in both of which someone is killed, both being constructed to catch the conscience of the one for whose benefit they are put on. But there are plenty of further facts. The film opens with an ageless male identifying himself first of all as a son. He speaks of his efforts to keep the smell of liquor on his breath from the watchful nose of his mother, and he comes to the attention of his enemies because of an unresolved anxiety about getting a message to his mother, whereupon he is taken to a mansion in which his abductor has usurped another man's house and name and has, it turns out, cast his own sister as his wife. The abductor orders the son killed by forcing liquid into him. It is perhaps part of the picture that the usurper is eager to get to his dinner guests and that there is too much competitive or forced drinking of liquor. Nor, again, will anyone swear that it is significant that the abductor-usurper's henchmen are a pair of men with funny, if any, names and a single man who stands in a special relationship with the usurper and has a kind of sibling rivalry with the young woman that this son, our hero, will become attracted to and repelled by. These are shadowy matters, and it is too soon to speak of "allusions" or of any other very definite relation to a so-called source. But it seems clear to me that if one were convinced of Hamlet in the background of North by Northwest, say to the extent that one is convinced that Saxo Grammaticus' Danish History is in the background of Hamlet, then one would without a qualm take the name Leonard as a successor to the name Laertes.Stanley Cavell, professor of philosophy at Harvard University, is the author of Must We Mean What We Say?, The Senses of Walden, The World Viewed, The Claim of Reason, and Pursuits of Happiness. His previous contributions to Critical Inquiry are "On Makajev On Bergman" and "A Reply to John Hollander". (shrink)

Provoked by Tom Geue’s recent book Author Unknown (2019), this article argues that a close reading of Calpurnius Siculus’ fourth Eclogue provides significant information about how and where the poet expected his poem to be received by its audience. Read against Vitruvius’ description of painted porticos and Diomedes’ account of the ‘common kind’ of poetry, in which ‘the poet himself speaks and speaking characters are also introduced’, the text was evidently designed to be presented as a performance, probably in the (...) imperial property on the Palatine. (shrink)

Niels Jørgen Cappelørn, Alastair Hannay, Bruce H Kirmmse, David D Possen, Joel D S Rasmussen, and Vanessa Rumble working with the Princeton University Press and the Søren Kierkegaard Research Center at the University of Copenhagen have produced this huge work with facsimiles etc. The review comments on Kierkegaard's shrewd observations which are applicable today in the New Media World of information skews in a COVID 19 world. Further; Kierkegaard's attack against mediocrity is commented on. This review finds Kierkegaard on St (...) Augustine of Hippo as immature. It is another thing that Kierkegaard's observations and this reviewer's extrapolations from them are not yet part of the New Media Studies's mostly platitude-filled webinars. How long will we go on about Marshall McLuhan? At least let us now learn from that most sharp of ironists: that the Press will be the Press and its mostly about optics. One wonders still how, Kierkegaard misread so much Augustine? Well, no man is an island and Kierkegaard tried to be an anonymous Christian. An impossibility. (shrink)