This article takes as its starting point the frequency with which Ovid refers to his earlier works in his Tristia and Epistulae ex Ponto. Alongside his treatment of the Metamorphoses in the exile poetry, it is suggested that Ovid refers, on a number of occasions, to his Fasti and the progress he is making on it. He does so by using the incipit of his calendar poem, Tempora; this term is sometimes combined with signa (‘stars’), which are also mentioned in (...) the opening couplet of the Fasti. It is proposed that Ovid's attitude toward his Fasti changes over the course of his exile, during which time he is, at various junctures, editing his calendar, and that some of these changes are discernible in the exile poetry; they result in part from his entertaining the possibility of using his Fasti as leverage in securing a mitigation of his punishment. Poems discussed in detail are Tristia 1.1, 1.7, 2.547–52, 5.3; Epistulae ex Ponto 2.1, 4.8. (shrink)

Catalepton 10 is a unique survival from antiquity: it is the only parody of an entire poem to reach us, and is written in pure iambic trimeters, a near intractable metre. Addressed to Sabinus, an upstart muleteer, the poem launches a stinging attack at him, and draws attention to his status as a parvenu. It remains incredibly close to its charming model—Catullus 4 —in structural, lexical, stylistic and metrical terms, but rather different in purport. In attempting to reassess a number (...) of problems in the text of the poem, the textual critic ought largely to be guided by the relationship of Sabinus ille to its model, as it is clear that the author of Catalepton 10 was an incredibly close reader of the Catullan text and sought not only to imitate through parody but also to subvert and deflate his predecessor's poem. (shrink)

‘The tale of the Argonauts was among the most popular myths in Greek and Roman literature of all periods.’ There was, however, not inconsiderable variation in certain aspects of the narrative: in the inclusion or exclusion of entire episodes; in (un)expected divergences from more authoritative versions of the story; and in the details of minutiae. In the Argonautic choral odes of Seneca'sMedea(301–79 and 579–669), and in Valerius Flaccus’ incomplete epic, there is a conspicuous, learned engagement with much of the earlier (...) tradition that hints at versions of the myth which are divergent from those that the two poets privilege in their respective narratives. Such moments serve to assert the playwright's and the epicist's status asdocti poetae, and to engage the learned reader in a (re)negotiation of the tradition; at times, an awareness of a literary past seems to be given to particular characters too so as to heighten the reader's experience of the narrative—by a sort of prolepsis—as it unfolds. (shrink)

In contemporary discussion of the philosophy of religion, or for that matter of any branch of philosophy, the names of Whitehead and Wittgenstein are not often linked. Whitehead's later work is, for the most part, treated as a rather specialized interest, an attractively under-cultivated field for the enterprising thesis-writer perhaps, but well away from the main centres of current philosophical activity. And what he has to say about specifically religious or theological issues 1 becomes simply one ramification of an ingenious (...) but somewhat eccentric system. Nonetheless, there is at least this much justification for considering it in relation to the much more influential and widely discussed views of Wittgenstein. Whitehead has some original things to say about God, Wittgenstein some original reasons for thinking that Whitehead's brand of originality is here radically misplaced. And the possibility or otherwise of such theological originality is an issue of very considerable importance for the philosophy of religion. (shrink)

What is a natural kind? As we shall see, the concept of a natural kind has a long history. Many of the interesting doctrines can be detected in Aristotle, were revived by Locke and Leibniz, and have again become fashionable in recent years. Equally there has been agreement about certain paradigm examples: the kinds oak, stickleback and gold are natural kinds, and the kinds table, nation and banknote are not. Sadly agreement does not extend much further. It is impossible to (...) discover a single consistent doctrine in the literature, and different discussions focus on different doctrines without writers or readers being aware of the fact. In this paper I shall attempt to find a defensible distinction between natural and non-natural kinds. (shrink)

Laland and colleagues have sought to challenge the proximate–ultimate distinction claiming that it imposes a unidirectional model of causation, is limited in its capacity to account for complex biological phenomena, and hinders progress in biology. In this article the core of their argument is critically analyzed. It is claimed that contrary to their claims Laland et al. rely upon the proximate–ultimate distinction to make their points and that their alternative conception of reciprocal causation refers to phenomena that were already accounted (...) for by standard theory. (shrink)

To what extent does the fact that a philosopher, in order to communicate, is constrained to use the same language and the same concepts as other members of his society, inhibit him from developing genuinely original modes of thought? Section I of this paper outlines arguments for the view that any attempt at radical originality, of the kinds traditionally expected of philosophy, must involve misuse of these shared concepts. Section II, however, on the basis of an examination of what it (...) is for different members of a society to use the same concepts, argues that so doing does not rule out important differences over instantiations and logical interrelations. It then attempts to show that this latitude for difference is adequate to allow for certain kinds of philosophical originality, for example, that shown in the Whiteheadian philosophy of organism. (shrink)

Solon's fragments 9–11 are preserved in three late authors: frr. 9 and 11 by Diodoros Sikelos , 9.20.2, Plutarch , Solon 3.6 and 30.3 respectively, and Diogenes Laertios , 1.50 and 1.51 respectively; and fr. 10 by Diogenes Laertios alone, 1.49. They are all quoted in the context of Solon's reaction to Peisistratos. Stories on this theme were circulating by the time of the Aristotelian Athenaion Politeia , and Rhodes' scepticism about them is well founded. Its author did not garnish (...) his version of events with these poems, nor indeed with any Solonian utterance, and he explicitly states that myth-making on this subject had already resulted in two stories about Solon and Peisistratos which were chronologically impossible. (shrink)

. Ill BERGSONS THEORY OF ART . . .141 THE PHILOSOPHY OF INTENSIVE MANIFOLDS I I CINDERS ..... 215 APPENDICES A. REFLECTIONS ON VIOLENCE . . 249 B. PLAN FOR A ...

Vitruvius has something interesting to say at De architectura 2.8.8: Non enim quae sunt e molli caemento subtili facie venustatis, non eae possunt esse in vetustate non ruinosae. itaque cum arbitrio communium parietum sumuntur, non aestimant eos quanti facti fuerint, sed cum ex tabulis inveniunt eorum locationes, pretia praeteritorum annorum singulorum deducunt octogesimas et ita – ex reliqua summa parte reddi pro his parietibus – sententiam pronuntiant eos non posse plus quam annos LXXX durare.Those structures made of soft rubble, for (...) all their subtle attractiveness, are not the ones that will resist ruin as time passes. And thus when assessors are appointed to evaluate party walls, they never assess soft rubble walls according to their initial cost, but rather, when they look at the price recorded in the original contracts, they deduct 1/80th of that sum for each subsequent year, and the remaining amount is fixed as the current value of the walls. They have rendered judgement, in effect, that such walls cannot last more than 80 years.By contrast, mud-brick walls were not depreciated at all if they were standing when assessed. The calculation performed for concrete walls demonstrates clear understanding of what we call ‘depreciation’ or ‘amortization’ in ancient Roman thought. It appears to have been overlooked to date. (shrink)

Accepted quantum description is stochastic, yet history is nonstochastic, i.e., not representable by a probability distribution. Therefore ordinary quantum mechanics is unsuited to describe history. This is a limitation of the accepted quantum theory, rather than a failing of mechanics in general. To remove the limitation, it would be desirable to find a form of quantum mechanics that describes the future stochastically and the past nonstochastically. For this purpose it proves sufficient to introduce into quantum mechanics, by means of a (...) perfected formal correspondence, certain analogs of the classical initial-condition constants. Through the restoration of such parameters at the quantum level one accomplishes a natural accommodation of time anisotropy, wave-function reduction, and “event” description by quantum mechanical equations of motion alone, without the need for extra postulates (e.g., a projection postulate). This requires a complete restructuring of quantum measurement theory. (shrink)