Both, Lucan and Seneca refer to the Stoic concept of metus lymphaticus; whereas Seneca intends to warn his readers of the negative outcome of irrational panic, Lucans illustrates its disastrous consequences. In this paper, focus is thus brought to their similarities, and especially to their different presentations and purposes.

A dominant theme in the ninth of the Heroides, Deianira's letter to Hercules, is Deianira's indignation that Hercules has been defeated by a woman: first by Iole ; then by Omphale . The theme is exploited so insistently that Vessey, who regards the epistle as spurious, sees in this insistence a sign of the forger's clumsiness. consider the exploitation of the motive of‘victor victus’ in Heroides 9, on the contrary, as a strong sign of Ovidian authorship. From the very (...) beginning of the letter, the reader is reminded that if a woman, Iole, has metaphorically destroyed Hercules, another woman is on the point of destroying Hercules in a much more real and literal way, and this woman is none other than Deianira herself. When Deianira writes the letter, she has just sent to Hercules the garment soaked in Nessus' poison that will provoke Hercules' horrible death : thus Deianira, rather than Iole or Omphale, is the woman who vanquishes the unvanquished hero. But this is not only a matter of dramatic irony based on the general lines of the story. Heroides 9 is an elegiac rewriting of Sophocles' Trachiniae , and at the same time is inserted in the time and the ‘body’ of the tragedy. Ironic prefiguration in Heroides is normally realized through intertextual anticipation: thefuture events that are prefigured are present in the texts of the model epic or tragedy. Deianira blames Hercules for bis defeat: quern numquam Iuno seriesque immensa laborum fregerit, huic Iolen imposuisse iugum quem non mille ferae, quern non Stheneleius hostis, non potuit Iuno vincere, vincit amor. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.4 (2005) 613-622 [Access article in PDF] The Triumph of Cupid: Marlowe's Dido Queen of Carthage Mary-Kay Gamel University of California, Santa Cruz e-mail: [email protected] is a lot for classicists to like in Marlowe's The Tragedy of Dido Queen of Carthage. There was a lot for theatergoers to like in Neil Bartlett's production of this play at the American Repertory Theatre (ART) in Cambridge, Massachusetts (...) (March 5–26, 2005).The script of Dido is based primarily on the Aeneid (Books I, II, and IV). Vergil's text contains many formal and thematic allusions to tragedy, especially in IV: the agonistic speeches; Anna's role as nutrix/confidante; comparisons of Dido to a raging Bacchant (301–3), Pentheus (469–70) and scaenis agitatus Orestes 471; and her thoughts of imitating the savage violence of Medea and Atreus 600–602. Aeneid IV raises the possibility that the poem will metamorphose from epic to tragedy, with Dido taking center stage from Aeneas.That is what happens in Ovid's Heroides 7, and it happens again in Dido Queen of Carthage. Marlowe probably wrote this play—his first—in 1585, when he was a twenty-one year old student at Cambridge University. An excellent Latinist, Marlowe did a superb translation of Ovid's Amores, probably before writing Dido. In writing Dido, Marlowe focused on Aeneid I, II, and IV, the books of the poem best known to ancient, Elizabethan, and modern audiences, and in a few places his characters speak Latin lines from the Aeneid. In dramatizing this material, Marlowe did not simply translate but made many changes in structure, characters, and language. Aeneas' account of the fall of Troy, for example, condenses all of Aeneid II (more than 800 lines) into 163 lines (still a very long speech, which includes horrific details not in Vergil: "young infants swimming in their parents' blood, / headless carcasses piled up in heaps" [II.i.193–94]).1 [End Page 613]Most significantly, Marlowe makes his gods Ovidian rather than Vergilian—selfish and petty, concerned only with status and pleasure, using human beings only to satisfy their desires. Jupiter is a middle-aged man making a fool of himself over a teenager: in the first scene he is not, as in the Aeneid, looking down from Olympus and already thinking about Aeneas, but rather trying to seduce Ganymede, a "female wanton boy," when Venus indignantly interrupts with "Ay, this is it!" (I.i.50).Venus' encounter with Aeneas in Carthage (Aeneid I.314–417) ends with Aeneas' unanswerable question, "Why talk we not together hand in hand / And tell our griefs in more familiar terms?" (I.i.245–46). Venus and Juno's plot to unite Dido and Aeneas is complete with sexual double-entendre: in the cave, Juno says, they will "interchangeably discourse their thoughts / Whose short conclusion will seal up their hearts" (III.ii.93–94). Costumes in the ART production reflected the gods' iconic status, though more in terms of Hollywood than ancient representations: Juno was a drag queen, Hermes an unearthly figure in gold paint with huge wings, while Venus was played by an African-American actress in white satin and spike heels (including her hunting outfit) with exaggeratedly "black" gestures and intonations—waving her long fingernails, arching her neck, posing her head, and calling Juno "sistah!" Bartlett was clearly not worried about using sexual and racial stereotypes to make an impact.Marlowe's mortals are dignified, yet wounded and vulnerable. His Dido is proud, independent, initially uninterested in Aeneas; his Iarbas genuinely loves Dido, warmly welcomes Ilioneus and the others; Anna is in love with Iarbas. All try to behave reasonably and honorably but are invariably thwarted by the gods' games. The ART Aeneas was deeply damaged by his experiences in Troy. A craggy man, wearing a scoured breastplate over worn fatigues, he staggered on, stooped, beaten. The text supports this interpretation: before beginning his speech about the fall of Troy, he says "memory... beats forth my senses from this... (shrink)

Why and how do norms emerge? Which norms emerge and why these ones in particular? Such questions belong to the ‘problem of the emergence of norms’, which consists of an inquiry into the production of norms in social collectives. I address this question through the ethnographic study of the emergence of ‘norms against violence’ in the political collective Occupy Geneva. I do this, first, empirically, with the analysis of my field observations; and, second, theoretically, by discussing my findings. In consequence (...) of two episodes categorized as sexual assaults that occurred in their camp, the members of Occupy Geneva decided to tackle those issues in a general assembly. Their goal was to amend their first charter of good conduct in order to reform its norms and complete it with norms aiming to regulate ‘facts’ of ‘unjustified violence’. During a collective deliberation, new norms were devised, debated and consensually adopted. The writing of the new charter took place in a second general assembly during which the wording of the written norms was collectively decided. I show that indignation over the sexual assaults was the main motive that led to the collective deliberation, and that the entire process of the making of these norms was characterized by different collective emotions. Indeed, indignation, contempt and fear played major roles in the emergence of norms prohibiting violence, allowing punishment and exclusion of wrongdoers, and prescribing collective intervention against an aggressor to neutralize the threat represented. These findings prompt me to hypothesize that social norms emerge from emotions thanks to the latters’ internal structure; and that emotions provide causal and grounding explanations for this emergence. Thus, emotions allow us to answer the questions: ‘Why do norms emerge?’ and ‘Why do they have their specific forms?’ In short, I argue that social norms have emotional foundations. (shrink)

Cet article s’intéresse au problème de la maintenance, c’est-à-dire au moment où les membres d’un collectif social tentent d’assurer dans le temps l’existence de leur collectif en instituant des règles pour réguler leurs comportements. Ce problème se pose avec acuité lorsque certains membres ne respectent pas ces règles communes. Pour maintenir la coopération sociale, les membres peuvent décider d’instituer des règles secondaires visant à sanctionner les transgressions des règles primaires déjà établies. La maintenance d’un collectif peut ainsi reposer sur l’émergence (...) de pouvoirs déontiques qui donnent aux membres l’autorité de légitimement punir et expulser les transgresseurs. Mais d’où viennent ces règles ? On peut penser qu’elles émergent des émotions éprouvées par les membres envers les transgresseurs. Je le démontre à l’aide d’une étude de cas qui établit que, dans le collectif Occupy Geneva, l’institutionnalisation de normes pour punir, exclure et réintégrer les déviants s’ancraient respectivement dans l’indignation, le mépris et le pardon. -/- This article focuses on the problem of maintenance; that is the moment when the members of a social collective attempt to ensure the existence of their collective over time by instituting rules to regulate their behavior. This problem becomes critical when certain members do not respect the common rules. To maintain social cooperation, members can decide to institute secondary rules aimed at sanctioning the transgressions of the already established primary rules. The maintenance of a collective can thus rely on the emergence of deontic powers that give members the authority to legitimately punish and expel transgressors. But where do these rules come from? The hypothesis is that they emerge from the emotions felt by the members towards the transgressors. I show this with the help of a case study, which establishes that the institutionalization of norms allowing the punishment, the exclusion, and the reintegration of deviants within the “Occupy Geneva” collective, was grounded in indignation, contempt, and forgiveness respectively. (shrink)

This paper offers a grammatical investigation of some important aspects of our moral life taking a scene from the movie Mr. Deeds Goes to Town as a test case. The main question I try to answer is whether there are situations in our moral discussions in which the proper and rational attitude is to show disagreement, as opposed to continuing the dialogue. Many philosophers seem committed to a conception of moral reasoning that takes as its end rational agreement among agents; (...) from that perspective, expressing indignation would just amount to an irrational way of trying to get rid of the burdens put upon the agent's shoulders in the context of a moral discussion. Against that widespread viewIwill defend a Cavellian version of moral perfectionism, which takes rational disagreement as a legitimate outcomeof moral arguments. That view, as we shall see, will be predicated upon a distinctive understanding of practical rationality, hence the importance of comparing moral discussion to other forms of rational engagement. (shrink)

Qu’est-ce que l’indignation ? Cette émotion est souvent conçue comme une émotion morale qu’une tierce-partie éprouve vis-à-vis des injustices qu’un agent inflige à un patient. L’indignation aurait ainsi trait aux injustices et serait éprouvée par des individus qui n’en seraient eux-mêmes pas victimes. Cette émotion motiverait la tierce-partie indignée à tenter de réguler l’injustice en l’annulant et en punissant son auteur. Cet article entreprend de montrer que cette conception de l’indignation n’est que partielle. En effet, l’indignation (...) ne porte pas que sur les injustices, mais plus généralement sur les torts injustifiés. Ce faisant, l’indignation peut être une émotion morale, mais aussi une émotion conventionnelle ou esthétique. De plus, elle peut être éprouvée par les individus victime des torts : elle n’est pas uniquement éprouvée par des tierces-parties. De la sorte, les individus indignés qui subissent les torts peuvent eux-mêmes chercher à les annuler et à punir leurs auteurs. Puisqu’elle peut être éprouvée tant par des spectateurs que par les personnes qui subissent les torts et qu’elle incline ceux qui l’éprouvent à faire appel à d’autres personnes pour réguler ces torts, l’indignation vécue individuellement est partageable : elle peut devenir une émotion collective jouant un rôle fondamental dans la régulation sociale en contribuant au renforcement de normes sociales existantes ou à l’émergence de nouvelles normes sociales associées aux idées du juste prévalant dans la société considérée. (shrink)

This article examines the nature of human dignity against the background of old age and introduces the novel idea of treating human dignity as a formal principle related to the more foundational notion of indignity. The discussion starts with the objection that the notion of human dignity can be used to justify contrary positions and is therefore inconclusive. This pitfall can be averted by appealing to the notion of indignity rather than dignity in one's moral reasoning and decision‐making. Cases of (...) indignity are more primary and indicate the violation of the very core of a human being. The verifiable property of vulnerability is central to this identification of indignity, as is illustrated by reference to the experiences of elderly people. The article argues for applying the concept of human dignity to reverse the conditions that existed before a particular indignity emerged, rather than trying to define positively the notion of human dignity in the first place. (shrink)

Righteous Indignation explores the philosophy of Christian anger—for example what anger is, what it means for God to be angry, and when anger is morally appropriate. The contributors examine several dimensions of the topic, including divine wrath, imprecatory psalms, and the proper place of anger in the life of Christians today.

T. H. Macho defended the claim that politics is a system for organizing attention and for arranging relationships of visibility. One way of attracting and holding the attention of others and maintaining one’s visibility is the instrumentalization of indignation. Another way is to instigate and maintain social stress and unrest. The article explores the concepts of indignation and social stress as introduced by P. Sloterdijk. These concepts are part of a model of political dynamics that describes 1) the (...) relationship between indignation and stress in political super-units and 2) the fact that they are compensated for by means of a specific conception of individual freedom (eleuthería, J.-J. Rousseau) and a liberal social order. The article defends the claim that there is a relationship between Macho’s claim about the organization of attention, Sloterdijk’s analyses of the concept of freedom and the method whereby individuals are immunized against generated social stress, which maintains social cohesion. (shrink)

À partir d’une étude de cas portant sur le « scandale des fiches », qui mit en cause les pratiques de surveillance de la police politique suisse, nous montrons que, contrairement à ce qu’affirment nombre de travaux, l’ampleur du scandale ne peut-être déduite de celle de l’indignation pas plus que cette dernière ne peut être rapportée à la gravité supposée de transgressions. Un scandale n’émerge que si des acteurs, à partir de leur évaluation de la situation et de leurs (...) perceptions du possible, s’autorisent à exprimer publiquement une indignation, qu’elle soit feinte ou sincère, et parviennent à imposer une qualification déviante des pratiques concernées entraînant des mobilisations dans plusieurs espaces sociaux. En déplaçant la focale sur la dynamique émergente de mobilisations multisectorielles, nous plaidons pour une approche relationnelle et processuelle de la dimension émotionnelle du scandale, inséparable de sa dimension cognitive. (shrink)

Moral experience comes in many flavors. Some philosophers have argued that there is nothing common to the many forms moral experience can take. In this paper, I argue that close attention to the phenomenology of certain key emotions, combined with a clear distinction between essentially and accidentally moral experiences, suggests that there is a group of (essentially) moral emotions which in fact exhibit significant unity.

The Epic of Evolution is a course taught at Northern Arizona University. It engages the task of formulating a new epic myth that is based on the physical, natural, social, and cultural sciences. It aims to serve the need of providing meaning for human living in the vast and complex universe that the sciences now depict for us. It is an interdisciplinary effort in an academic setting that is often divided by specializations; it focuses on values in a (...) climate of relativism; and it concentrates on an enterprise for which there are few textbooks at hand. The course is presented in three segments: the cosmos before humans appeared, the human phenomenon, and scenarios for the future of evolution. (shrink)

In recent years sociological research on social movements has identified emotional dynamics in all the basic processes and phases of protest, and we are only beginning to understand their causal impacts. These include the solidarities of groups, motivations for action, the role of morality in political action, and the gendered division of labor in social movements. Anger turns out to be at the core of many of these causal mechanisms.

In this paper I aim to test a general interpretation of television series as narrative epics, in the sense defined by Aristotle’s Poetics and canonised by Renaissance literary theorists.

This essay argues that black Americans writing from outside or at the margins of the democratic polity shed important light on the nature of human dignity and on the political emotion that offers—to oneself and to others—the surest proof of the existence of such dignity: indignation. I focus in particular on four insights of this body of black American political thought: that the presumption of dignity is the basis on which citizenship is conferred, while its denial is the justification (...) by which citizenship is withheld; that dignity’s existence within a person is vouchsafed most effectively by indignation, a flash of emotion that arises in response to the insult of its denial; that even though dignity feels woven into one’s innermost being, it is always vulnerable to social denial and therefore stands in need of social confirmation; that indignation can and should be transformed into a self-opposing disposition that resists complacency and seeks continual reconfiguration, or enlargement, of the demos and of its democratic theory. (shrink)

This paper offers a grammatical investigation of some important aspects of our moral life taking a scene from the movie Mr. Deeds Goes to Town as a test case. The main question I try to answer is whether there are situations in our moral discussions in which the proper and rational attitude is to show disagreement(e.g. by expressing indignation), as opposed to continuing the dialogue. Many philosophers seem committed to a conception of moral reasoning that takes as its end (...) rational agreement among agents; from that perspective, expressing indignation would just amount to an irrational way of trying to get rid of the burdens put upon the agent's shoulders in the context of a moral discussion. Against that widespread viewIwill defend a Cavellian version of moral perfectionism, which takes rational disagreement as a legitimate (and even productive) outcomeof moral arguments. That view, as we shall see, will be predicated upon a distinctive understanding of practical rationality, hence the importance of comparing moral discussion to other forms of rational engagement (e.g., aesthetic, scientific and mathematical). (shrink)

Can we ever have politics without the noble lie? Can we have a collective political identity that does not exclude or define ‘us’ as ‘not them’? In the Ethics, Spinoza argues that individual human emotions and imagination shape the social world. This world, he argues, can in turn be shaped by political institutions to be more or less hopeful, more or less rational, or more or less angry and indignant. In his political works, Spinoza offered suggestions for how to shape (...) a political imaginary and create collective identities that are more guided by hope than by fear or anger. In this talk, using the framework of Spinoza's theory of emotions, I will investigate how Barack Obama's promise of 'hope' was translated into Donald Trump's rhetoric of hate. Such a transition, from hope to fear is one that would be unsurprising to Spinoza. Spinoza worried about the political and personal effectiveness of hope. He argued that hope can easily be turned into what he called ‘indignatio’ or indignation – an emotion that he believed eroded trust in political institutions and was the limit of state power. Spinoza warned about the danger of governance that relies upon the emotions of anger and hatred. In the Ethics, Spinoza painstakingly reconstructs the way in which individual emotions, ideas and motivations are shaped within social worlds. He argued that emotions based on pain, including hatred and indignation, diminish the power of the individuals who experience them and the political collective in which those individuals reside. Anger, fear and indignation weaken the state. In the second section of the paper, I will set out how the Trump administration’s reliance on the motivational forces of hate and anger risk what Spinoza called indignation. Trump's reliance on exclusionary conceptions of American identity have fanned the flames of racial, ethnic and religious hatred to motivate his base have had widespread social and political effects. I will offer arguments and examples which bear out the Spinozan worries about the effects of anger and indignation on the political and the social. Spinoza’s political works were written not just to explain the worries about an angry and indignant multitude, but also to show how to turn political indignation and anger into a chastened, and perhaps more rational, hope. Finally, I will propose that we may derive from Spinoza participatory, democratic institutions and collective identities that can overcome this indignation. (shrink)

In “Freedom and Resentment” P.F. Strawson distinguishes between the participant reactive attitudes like resentment and the moral reactive attitudes like indignation described by Strawson as their “vicarious analogues,” where we are not the injured party and it is not our own personal relationships at stake. Through naturalistic description of the participant reactive attitudes a set of conditions for moral responsibility can be discovered that, moreover, are held to be immune to any external review or to require external justification. Except (...) for pathological cases Strawson deems to amount to solipsism, these participant attitudes and their vicarious analogues are deemed to go together and the same arguments to apply equally to each: resentment and indignation are supposed to have the same conditions for being appropriately held or withheld. I find it to be not obvious that these conditions must be the same, but even if they are, the case for immunity that Strawson presents initially for the participant reactive attitudes does not transfer as unproblematically as he seems to assume to the moral reactive attitudes. The aim of this paper is not to analyse Strawson’s arguments, but more simply to identify a number of ways in which we may be resentful without being indignant, and indignant without being resentful. (shrink)

Résumé L’article établit le récit du mouvement d’occupation de la place Syntagme à Athènes par les Indignés grecs au printemps 2011 suite aux annonces de différents plans d’austérité. Il décrit précisément les motivations des occupants, les différents publics qui se rassemblent sur la place, leur argumentation concernant le refus des différentes mesures économiques et la demande de démocratie directe. Différentes temporalités et espaces traversent le mouvement : des rassemblements massifs populaires à son épuisement au printemps 2012, en raison notamment d’un (...) système politique peu favorable aux manifestants. L’article tire donc un bilan de cette action politique éphémère. (shrink)

Luego de señalar algunos momentos específicos en la obra de Arendt, en los que la cuestión de la sentimentalidad aparece, sobre todo de manera crítica, nos centraremos en un aspecto específico de esta, de especial interés para nosotros: el lugar de la indignación a la hora de narrar, contar, construir la historia de una comunidad y a la hora de abrir e instaurar el espacio público, caracterizado por Arendt como el espacio de aparición más elemental, donde los otros aparecen ante (...) mí y yo aparezco ante los otros , haciendo surgir lo político. Esta perspectiva nos permitirá reconstruir la posible relación entre indignación y política, en el pensamiento de la autora alemana. Starting from highlighting some specific moments in Arendt’s works critically dealing with sentimentality matters, we will focus on a specific aspect: the place of indignation when narrating, telling, and constructing the history of a community and, at the same time, opening a public space. This is characterized by Arendt as an elementary space, where others appear to me and I appear before them. , originating the political aspect. This view allows us to rebuild the possible relationship between indignation and politics in this German author’s views. (shrink)

À partir d’une étude de cas portant sur le « scandale des fiches », qui mit en cause les pratiques de surveillance de la police politique suisse, nous montrons que, contrairement à ce qu’affirment nombre de travaux, l’ampleur du scandale ne peut-être déduite de celle de l’indignation pas plus que cette dernière ne peut être rapportée à la gravité supposée de transgressions. Un scandale n’émerge que si des acteurs, à partir de leur évaluation de la situation et de leurs (...) perceptions du possible, s’autorisent à exprimer publiquement une indignation, qu’elle soit feinte ou sincère, et parviennent à imposer une qualification déviante des pratiques concernées entraînant des mobilisations dans plusieurs espaces sociaux. En déplaçant la focale sur la dynamique émergente de mobilisations multisectorielles, nous plaidons pour une approche relationnelle et processuelle de la dimension émotionnelle du scandale, inséparable de sa dimension cognitive. (shrink)

The Green Revolution is often seen as epitomising the dawn of scientific and technological advancement and modernity in the agricultural sector across developing countries, a process that unfolded from the 1940s through to the 1980s. Despite the time that has elapsed, this episode of the past continues to resonate today, and still shapes the institutions and practices of agricultural science and technology. In Brazil, China, and India, narratives of science-led agricultural transformations portray that period in glorifying terms—entailing pressing national imperatives, (...) unprecedented achievements, and heroic individuals or organizations. These “epic narratives” draw on the past to produce meaning and empower the actors that deploy them. Epic narratives are reproduced over time and perpetuate a conviction about the heroic power of science and technology in agricultural development. By crafting history and cultivating a sense of scientific nationalism, exceptionalism, and heritage, these epic narratives sustain power-knowledge relations in agricultural science and technology, which are underpinned by a hegemonic modernization paradigm. Unravelling the processes of assemblage and reproduction of epic narratives helps us make sense of how science and technology actors draw on their subjective representations of the past to assert their position in the field at present. This includes making claims about their credentials to envision and deliver sustainable solutions for agriculture into the future. (shrink)

Moral intuitions operate in much the same way as other intuitions do; what makes the moral domain is distinctive is its foundations in the emotions, beliefs, and response tendencies that define indignation. The intuitive system of cognition, System I, is typically responsible for indignation; the more reflective system, System II, may or may not provide an override. Moral dumbfounding and moral numbness are often a product of moral intuitions that people are unable to justify. An understanding of (...) class='Hi'>indignation helps to explain the operation of the many phenomena of interest to law and politics: the outrage heuristic, the centrality of harm, the role of reference states, moral framing, and the act-omission distinction. Because of the operation of indignation, it is extremely difficult for people to achieve coherence in their moral intuitions. Legal and political institutions usually aspire to be deliberative, and to pay close attention to System II; but even in deliberative institutions, System I can make some compelling demands. (shrink)

The epic, one of the oldest forms of poetic expression, came into being and evolved in time immemorial, long before the appearance of writing - the advent of which, while helping to fix oral traditions since the dawn of history, has at the same time sapped these traditions of their freshness. Not until methods of recording and reproduction were perfected was the oral epic restored to its full compass as a work of enduring dimensions.

In the Ethics, Spinoza argues that individual human emotions and imagination shape the social world. This world, he argues, can in turn be shaped by political institutions to be more or less hopeful, more or less rational, or more or less angry and indignant. In his political works, Spinoza offered suggestions for how to shape a political imaginary that is more guided by hope than by fear or anger. In this chapter, using the framework of Spinoza’s theory of emotions, I (...) will investigate how Barack Obama’s promise of ‘hope’ was translated into Donald Trump’s rhetoric of hate. Such a transition, from hope to fear is one that would be unsurprising to Spinoza. Spinoza worried about the political and personal effectiveness of hope. He argued that hope can easily be turned into what he called ‘indignatio’ or indignation—an emotion that he believed eroded trust in political institutions. Spinoza warned about the danger of governance that relies upon the emotions of anger and hatred. I will set out how the Trump administration’s reliance on the motivational forces of hate and anger risk what Spinoza called indignation. Spinoza’s political works were written to show how to turn political indignation and anger into a chastened, and perhaps more rational, hope. Finally, I will propose that we may derive from Spinoza participatory, democratic institutions that can overcome this indignation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s 1803 (...) “Trauerspiel mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

The overall purpose of this cross-country Nordic study was to gain further knowledge about maintaining and promoting dignity in nursing home residents. The purpose of this article is to present results pertaining to the following question: How is nursing home residents’ dignity maintained, promoted or deprived from the perspective of family caregivers? In this article, we focus only on indignity in care. This study took place at six different nursing home residences in Sweden, Denmark and Norway. Data collection methods in (...) this part of this study consisted of individual research interviews. Altogether, the sample consisted of 28 family caregivers of nursing home residents. The empirical material was interpreted using a hermeneutical approach. The overall theme that emerged was as follows: ‘A feeling of being abandoned’. The sub-themes are designated as follows: deprived of the feeling of belonging, deprived of dignity due to acts of omission, deprived of confirmation, deprived of dignity due to physical humiliation, deprived of dignity due to psychological humiliation and deprived of parts of life. (shrink)

An Epic of Technical Supremacy: Works and Words of Medieval Chinese Textile Technology. By Dieter Kuhn. Riggisberg (Switzerland): Abegg-Stiftung, 2022. Pp. 488. CHF 120.

Epic Tales from Ancient India: Paintings from the San Diego Museum of Art. Edited by Marika Sardar. San Diego: San Diego Museum of Art, 2016. Pp. 164. $45. [Distr. by Yale Univ. Press.].

The history of Milton's reception in Poland suggests that he was mainly seen as a model practitioner of epic poetry, rather than as a political or religious thinker. This conclusion is borne out by comparing two of the three complete translations of Paradise Lost into Polish—the first by Jacek Przybylski (1791), the second by Władysław Bartkiewicz (1902) (the third being Maciej Słomczyński's 1974 translation). The examination of a few crucial passages demonstrates that the earlier translation, Przybylski's, is more successful (...) in representing Milton's linguistic sophistication, theology, and attitude to the Roman Church, than Bartkiewicz's later translation, which, characterized above all by a concern with Catholic correctness, includes many omissions and distortions. Słomczyński's translation, criticized for its theological inaccuracies, is only briefly discussed, as are a few fragments of Milton's work that were translated by other Polish poets. (shrink)

Drawn from sixty years of scholarship, this edited collection is the first volume to collate the most influential modern academic writings on Flavian epic poetry, revised and updated to provide both scholars and students alike with a broad yet comprehensive overview of the field.

Mikhail Bakhtin has gained a reputation of a thinker and literary theorist somehow hostile to poetry, and more specifically to the epic. This view is based on texts, in which Bakhtin creates and develops a conceptual contrast between poetry and the novel (in "Discourse in the Novel") or between epic and the novel (in "Epic and Novel"). However, as I will show, such perceptions of Bakhtin's position are grounded in a misunderstanding of Bakhtin's writing strategy and philosophical (...) approach. Bakhtin often draws such conceptual contrasts as the ones between epic and novel, but does so not in order to characterize pre-given phenomena (in this case, the epic and the novel as two groups of literary works), but to construct a conceptual space which he in turn uses to explicate elements of his philosophy. (shrink)

This article sketches what is required of a world picture (religious or nonreligious) that is intended to provide orientation in the world for ongoing human life today. How do we move from conceptions and theories prominent in the modern sciences—such as cosmic and biological evolution—to an overall picture or cosmology which can orient us for the effective address of today's deepest human problems? A biohistoricalconception of the human is proposed in answer to this question.

The Covid-19 pandemic has fuelled indignation. People have been indignant about the breaking of lockdown rules, about the mistakes and deficiencies of government pandemic policies, about enforced mask-wearing, about vaccination programmes (or lack thereof), about lack of care with regards vulnerable individuals, and more. Indeed, indignation seems to have been particularly prevalent on social media platforms such as Twitter and Facebook, where indignant remarks are often accompanied by variations on the hashtag #WTF?! In this paper, I explore (...) class='Hi'>indignation’s distinctive character as a form of moral anger, in particular suggesting that what is characteristic of indignation is not only that it discloses moral injustices but betrays our disbelief at the very occurrence of the offence. Having outlined the character of indignation, I consider how the structure of indignation impacts how we do, respond to, and receive indignation. I explore indignation in action, so to speak, in the context of Covid-19, with a particular emphasis on how indignation occurs ‘on the internet’. (shrink)

Resumen El artículo se centra en el poema Seudoaraucana de Elvira Hernández (2010; 2017) a partir de la reescritura como recurso articulador de una mirada descentrada y amplificada del texto fuente, La Araucana de Ercilla y Zúñiga. Como hipótesis se plantea que la reescritura discute fenómenos sociales vinculados con las fisuras de la nación chilena y los procesos políticos de la actual coyuntura. Como objetivo, se busca establecer un diálogo con la tradición y el campo literario en torno a la (...) épica, por un lado, y con las reconsideraciones críticas acerca de la imaginación poética de la historia, por otro. Abstract The article focuses on the poem Seudoaraucana by Elvira Hernández (2010; 2017) based on the rewriting as an articulating resource of an off-center and amplified look at the source text, La Araucana de Ercilla y Zúñiga. As a hypothesis, it proposes that the rewriting discusses social phenomena linked to the fissures of the Chilean nation and the political processes of the current situation. As an objective, it tries to establish a dialogue with the tradition and the literary field around the epic, on the one hand, and with critical reconsiderations about the poetic imagination of history, on the other. (shrink)

Sexual competition in the epics is looked at for examples of conflict between older or more powerful males and younger or subordinate males over fertile females, a pattern that would have characterized the human environment of evolutionary adaptation (EEA). In the Iliad and Odyssey, the Old Testament, the Arthurian Cycle (and its Celtic originals), the Volsunga Saga, and El Cid, this pattern is found to be the frame or prime mover or a central feature of the narrative. It is suggested (...) that changes through time in the literary treatment of the theme reflect a progressive dilution of the traditional power of older males over mate choice. (shrink)

Human rights may feel self-apparent to us, but less than 80 years ago, one of the most advanced countries at the time acted based on an utterly contrary ideology. The view of social Darwinism that abandoned the idea of the intrinsic value of human lives instead argued that oppression of the inferior is not only inevitable but desirable. One of the many catastrophic outcomes is the medical data obtained from inhuman experiments at concentration camps. Ethical uncertainty over whether the resulting (...) insights should be a part of the medical literature provides a chance to consider the seemingly irreplaceable social construct of human dignity. Would any medical benefit justify the utilization of this illicit data? Would utilization even qualify as an insult to the dignity of the exploited subjects, or is this a question about intersubjective meaning? This work discusses the wisdom in blind adherence to human dignity, the possibility of retrospective insults, moral complicity, contrary viewpoints, and possible resolutions. (shrink)