The article proves that the term mouseion used by Plato in Phaedrus 278b cannot mean “sanctuary/shrine of the Muses” here, but it probably refers to the cicadas chirping under the plane tree of which Socrates speaks earlier in the dialogue (259b-c). Such an interpretation is consistent with our knowledge of the early stage of development of the concept of mouseion, and also with its use elsewhere in Plato’s dialogue (267b). It should therefore be concluded that the cult of the Muses (...) at the Ilissus, known from late testimonies, did not come from the classical era and appeared under the influence of reading Plato’s dialogue. Plato’s testimony should also not be raised as an important argument in disputes regarding the relationship of the nymphs and the Muses and the early identification of the Muses with water. (shrink)

One of the most familiar traits of the part-horse, part-man creatures known as silens is their keen interest in women. In Athenian vase-painting, the female companions of the silens are characterized by a variety of attributes and items of dress, and exhibit mixed feelings toward the attentions of silens. The complexities of the imagery have resulted in disagreement in modern scholarship on several points, including the identity of these females, the significance of their attributes, and the explanation of a change (...) in their receptivity to the advances of the silens. One of the reasons for the lack of consensus in the scholarship is the fact that the imagery raises not one question but many: questions concerning iconographical method, mythology, ritual, and poetry. In what follows I have attempted to separate some of these entangled issues. I hope to show that the companions of the silens are nymphs and not maenads, and that a major change in the iconography of silens and nymphs, occurring in late sixth-century red-figure Attic vase-painting, reflects in some way developments in the Athenian dramatic genre of satyr-play. (shrink)

In 1900, art historians André Jolles and Aby Warburg constructed an experimental dialogue in which Jolles supposed he had fallen in love with the figure of a young woman in a painting: “A fantastic figure—shall I call her a servant girl, or rather a classical nymph?…what is the meaning of it all?…Who is the nymph? Where does she come from?” Warburg’s response: “in essence she is an elemental spirit, a pagan goddess in exile,” serves as the touchstone for this wide-ranging (...) and theoretical exploration of female representation in iconography. In _Nymphs_, the newest translation of Italian philosopher Giorgio Agamben’s work, the author notes that academic research has lingered on the “pagan goddess,” while the concept of “elemental spirit,” ignored by scholars, is vital to the history of iconography. Tracing the genealogy of this idea, Agamben goes on to examine subjects as diverse as the aesthetic theories of choreographer Domineco da Piacenza, Friedrich Theodor Vischer’s essay on the “symbol,” Walter Benjamin’s concept of the dialectic image, and the bizarre discoveries of photographer Nathan Lerner in 1972. From these investigations, there emerges a startlingly original exploration of the ideas of time and the image. Agamben is the rare writer whose ideas and works have a broad appeal across many fields, and _Nymphs_ will engage not only the author’s devoted fans in philosophy, legal theory, sociology, and literary criticism, but his growing audience among art theorists and historians as well. (shrink)

The third stasimon of Oedipus Rex is the climax of the play, separating the conversation with the Corinthian messenger from the interrogation of the shepherd, so crucial for the narrative. Indeed, the question τίς σε, τέκνον, τίς σ’ ἔτικτε, critical for the plot, comes right at the beginning of its antistrophe. Sophocles, however, offers no easy answer to it. Instead, he provides yet another narrative misdirection, one that—for the last time—suggests that the paths of the king of Thebes and of (...) his predecessor may have been divergent: the possibility that Oedipus’ divine ancestry would question the prophecy of Apollo. After enumerating Pan, Hermes and Apollo himself as possible parents, the song also mentions Dionysus and the ‘Heliconian nymphs’. The reference to Helicon has perplexed the readers for many years, since the text seems to focus on Cithaeron as the ‘birthplace’. As a result, editions and translations prefer the conjecture ἑλικωπίδων proposed by U. von Wilamowitz-Moellendorff in 1879, over Ἑλικωνίδων, the form present in all manuscripts. In this paper I argue that an analysis of our sources for Heliconian cults, an assessment of the performative context, and a close reading of the stasimon and its place in the narrative, all suggest that the manuscript reading should be retained. (shrink)

Alors que les pratiques dédicatoires ont été régulièrement étudiées par les historiens de la religion grecque, un important dossier chypriote a jusqu’ici été quasiment négligé. Il s’agit d’un sanctuaire rupestre situé sur la colline de Kafizin, où quelque 310 fragments de céramique inscrits ont été mis au jour, dont la grande majorité porte le nom d’Onesagoras, fils de Philounios, et est dédiée à une Nymphe, entre 225 et 218 avant notre ère. Onesagoras a manifesté une telle intensité dans le culte (...) de la Nymphe qu’il peut être considéré comme un nympholepte ou « possédé par une Nymphe ». Le dossier comprend un matériel important pour l’étude des pratiques religieuses à un niveau intermédiaire dans la polis. Cet article entend porter ce matériel à l’attention de ceux qui étudient la religion grecque, en soulevant les questions qu’il pose en matière de pratiques dédicatoires. (shrink)

Neoplatonic allegorical interpretation expounds how literary texts present philosophical ideas in an enigmatic and coded form, offering an alternative path to the divine truths. The Neoplatonist Porphyry’s _On the Cave of the Nymphs_ is one of the most significant allegorical interpretation handed down to us from Antiquity. This monograph, exclusively dedicated to the analysis of _On the Cave of Nymphs_, demonstrates that Porphyry interprets Homer’s verse from Odyssey 13.102-112 to convey his philosophical thoughts, particularly on the material world, relationship between (...) soul and body and the salvation of the soul through the doctrines of Plato and Plotinus. The Homeric cave of the nymphs with two gates is a station where the souls descend into genesis and ascend to the intelligible realm. Porphyry associates Odysseus’ long wanderings with the journey of the soul and its salvation from the irrational to rational through escape from all toils of the material world. (shrink)

Is Machiavelli an Epicurean in his political and religious thought? Recent scholarship has identified him as the foremost representative of Epicureanism in Renaissance Florence. In particular, his incomplete epic poem, The Ass, is read as an expression of his adherence to Lucretian naturalism. This article offers a new reading of the poem and shows that its teaching reveals that Machiavelli is closer to a Platonic variant of classical naturalism linked with the idea of a natural virtue modelled on the lives (...) of animals which has been lost through human civilization and progress and to which it is necessary to return periodically. The article focuses on the poem’s claim that civil religion is a necessary component for good laws that maintain a free republic and argues that Machiavelli offers a poetic reflection on the role of Numa as the founder of Roman religion on the model of a neo-Pythagorean philosophical religion that was instrumental in the rise of constitutional government. More than Lucretius’s critique of religion, Machiavelli’s poem can be read as an extended reflection on Plutarch’s texts – above all, his Life of Numa. (shrink)

As regards Aby Warburg’s oeuvre, it is fascinating that three unfinished or unpublished projects have come to represent the very theorems now appearing of most interest for cultural historians and theorists: The Mnemosyne Atlas representing pictorial memory; the Serpent Ritual as theorem for a cultural-anthropological reading of pagan cultures; and the Nymph Fragment as a foundational figure of modern iconology. This essay undertakes an analysis of the fragmentary character of Warburg’s way of working, arguing that his search for an analytic (...) model to account for the interplay between Christian and pagan/polytheistic traditions displays striking asynchronies and displacements. Rather than explicating these irregularities biographically, the conceptual problems tied to his methods and cognitive interests are investigated. The article thus examines a set of conceptual questions whose relevance extends well past Warburg’s methodology, considering the dimensions of religious and cultural-historical theory within a broader history of European arts and media. Concentrating on probably the most cited figure from Warburg’s repertoire of images, the “nymph” figure on Ghirlandaio’s fresco The Birth of St John the Baptist, the essay focuses on Warburg’s borrowings from Heinrich Heine and reveals Heine to be a blind spot in research on Warburg up until now. (shrink)

Religious ritual in ancient Greece regularly incorporated music, so much so that certain instruments or vocal genres frequently became associated with the religious veneration of specific gods. The Attic cult of Pan and the Nymphs should also be included among this group: though little is often known about the specific ritual practices, the literary and visual evidence associated with the cults make repeated reference to music performed on the panpipes—and to auditory and sensory stimuli more generally—as a prominent feature (...) of the worship of these gods. I consider the Vari Cave, sacred to Pan and the Nymphs, together with the surviving marble votive reliefs from that space, to explore the sounds and sensations associated with the veneration of the rural gods. I argue that the sensory experience offered by the cave and the images within it would have enhanced the worshiper's experience of the ritual and the gods for whom they were performed. In this way, visual and auditory perceptions blurred together to create a powerful experience of the divine. (shrink)

On the Cave of the Nymphs, an allegorical exegesis of Homer’s description of the cave of the nymphs at Odyssey 13.102-112, a passage quoted in full at the beginning of the treatise after the briefest possible indication of the project on which Porphyry is embarking, has been generally given little attention in discussions of Neoplatonic philosophy, as it is deemed to be of little importance for establishing Porphyrian doctrine. However, the treatise contains significant philosophical thoughts on the relationship (...) between the soul and body, embodiment, demonology, and the concept of the salvation of the soul, which are compatible with his other works, especially _On Abstinence from Killing Animals_ and _Pathways to the Intelligible_. The concept of the salvation of the soul is found in Porphyry’s identification of the goddess Athena with _phronesis_, along with the olive tree, while Odysseus represents the soul descending into genesis, but will return back to his fatherland. In this context, this paper will explore the role and meaning of _phronesis_, namely the goddess Athena, in the process of the soul’s journey towards the intelligible realm and show the relevance of the Neoplatonic doctrine of virtues, particularly the cathartic virtues, in _Sententia_ 32 to Porphyry’s reading of Homer’s image of Odysseus under guidance of the goddess Athena. _Phronesis_ inspires the soul to incline towards the level of Intellect that is, away from damaging influences of the body to which the soul is enslaved and which confuses it with desires, passions, fears and illusory impressions, and prevents it from attaining the intelligible realm, whereas the body and its desires lead us to conflict and unjust behaviour in order to gain wealth, status, power, and pleasure. (shrink)

In The Open, a series of reflections on the historical endeavours to define the essential features of the human figure in relation to the biological existence it shares with animals, Giorgio Agamben offers a detailed reading of Titian’s painting The Nymph and the Shepherd. He argues that the scene depicted enables the contemporary viewer to visualize the advent of radical freedom, the moment when the historical dialectic of nature and culture comes to a ‘stand-still’. In this article, I offer a (...) different reading of The Nymph and the Shepherd, whereby the advent of radical freedom and death become indistinguishable. This different reading, I argue, calls into question Agamben’s understanding of corporeal being. I conclude by suggesting more speculatively and tentatively that ‘bioart’, the field now emerging at the intersection of the creative arts and the bio-medical sciences, may provide a better site of reflection on the questions Agamben ultimately poses about the future of bio-political governmentality. (shrink)

The following excerpt from Proclus' Commentary on the Timaeus appears as Fr. 37 in the edition of the fragments of Numenius by Des Places.1 It is the aim of this study to ascertain the original place of the fragment in his work, and to show that it belongs to a second-century school of allegorical commentary on the ancient theologians, and particularly on Pherecydes of Syros, of which Numenius will have been one of the brightest luminaries.

The following excerpt from Proclus' Commentary on the Timaeus appears as Fr. 37 in the edition of the fragments of Numenius by Des Places.1 It is the aim of this study to ascertain the original place of the fragment in his work, and to show that it belongs to a second-century school of allegorical commentary on the ancient theologians, and particularly on Pherecydes of Syros, of which Numenius will have been one of the brightest luminaries.

This article was inspired by Georges Didi-Huberman’s keynote lecture “Que ce qui apparaît seulement s’aperçoit” delivered in 2015 at Charles University in Prague during the “Dis/appearing” conference organized by the Internationales Kolleg für Kulturtechnikforschung und Medienphilosophie. Didi-Huberman’s lecture consisted of various reflections concerning the meaning of the image as instances of flaring up and fading away. During his talk, Didi-Huberman used evocative images – recollections – which he had collected over the years; impressions while walking in the streets, melancholic musings (...) about love, and thoughts gathered from literature en route. From this, the article identifies seven cases through which Didi-Huberman has conceptualized images; the nymph, the butterfly, the passer-by, the surface, the dance, the silence, and sophrosyne. These cases attest to the influence of Aby Warburg on the writing of Didi-Huberman and, taken together, identify what these cases of the image have in common; namely, that images occupy an interspace: the fleeting instant of appearance/disappearance. Didi-Huberman explains images – “Dante’s Beatrice and Baudelaire’s fleeting beauty” as “the paradigmatic ‘passer-by.’” Through these cases, this article poetically draws the reader’s attention to what Didi-Huberman calls “non-knowledge”; those fleeting, mobile, paradoxical aspects of images that resist clear categorization and can be thought of as fireflies against the night sky. The article asks: is it possible to characterize this genre? To denominate the collection of thoughts that welcome the image as a witness to the history of thought? The study of images can be understood, following Giorgio Agamben’s interpretation of Aby Warburg’s oeuvre, as “the nameless science.”. (shrink)

In Sophocles' Ichneutai Silenos reproaches the Satyrs for their cowardice. Among other things that he says to them, he contrasts their current attitude to his own bravery in youth; in lines 154-155 he speaks of many monuments of bravery, which he has left in the homes of the nymphs. After illustrating the syntax of these lines and offering a new translation, the author goes on to investigate the possible reference of these "monuments of bravery" and hence of the (alleged) (...) exploits of Silenos. (shrink)

Rêves, nymphes, démons, fantômes, conversations avec les animaux et les montagnes, enseignements transmis par les plantes : l’enchantement a disparu de nos vies. Quiconque ose l’évoquer viole les canons épistémologiques les plus élémentaires qui régissent notre monde et est immédiatement disqualifié comme ignorant ou fou. Il est toutefois suspect que le tabou de l’enchantement entre en action précisément lorsque le processus historique de la modernité commence à produire des spectres et des cauchemars à une échelle industrielle : le monde est (...) peuplé de fantômes et personne ne peut plus en parler. Contre le récit triomphant de la modernité et les fables noires du complotisme dark, l’article propose de repartir de l’efficacité symbolique de Lévi-Strauss pour repenser notre rapport à l’enchantement sous le signe de la sensibilité, de la multiplicité et de l’autonomie. (shrink)

Dans L’Antre des Nymphes, Porphyre répartit en trois groupes les dieux et les lieux des sacrifices qui leur sont offerts. Une telle division est connue des chercheurs qui s’intéressent à la manière dont les Grecs pourraient avoir organisé le monde divin et ses interventions. Mais on a méconnu d’autres affirmations que Porphyre produit à ce sujet dans le traité Sur la philosophie tirée des oracles. Dans les fr. 314 et 315, Porphyre cite de longs extraits d’oracles dans lesquels Apollon répartit (...) les dieux et leurs sacrifices en trois groupes. Il restructure lui-même et justifie ces divisions. Même si Apollon propose plus de catégories que celles auxquelles nous sommes habitués, son approche suggère que la tendance à la catégorisation était plus commune dans la pensée des Anciens que ne l’a prétendu la recherche récente. On voit aussi que Porphyre fait en sorte de ramener les catégories d’Apollon à trois seulement. En conclusion, de telles observations peuvent nous aider à mieux saisir nos pratiques en tant qu’historiens des religions. (shrink)

MamaKaïom – Émergence d'une nymphe d'homo-crocodilus Performance dansée, cocon et chrysalide réalisés pour la résidence d'artistes de Saint-Ilpize – Neuvième édition Natacha Liège, Francois Villais et Franck Watel Compte tenu de l'actualité et de la prise de conscience que la nature se fragilise, la résidence se propose d'explorer un écosystème imaginaire pour illustrer le vivant du futur. Les Espèces en Voie d'Apparition sont issues de croisements humains, animaliers, minéraux et - Résidence numérique – François Villais.

On abstinence from animal food -- Treatise on the Homeric cave of the nymphs -- Auxiliaries to the perception of intelligible natures.

In Sophocles’ Ichneutai the second phase of the Satyrs’ tracking of the stolen cows begins with twenty-seven lyric lines (vv. 176-202), during which the Satyrs progressively advance towards the cave of the nymph Kyllene. The papyrus assigns the entire passage to the Chorus of the Satyrs. But it seems most probable that here we have a lyric dialogue between the Chorus and Silenos, with the greater part actually belonging to him. The lyric passage is full of exhortations and instructions to (...) the Satyrs for the tracking, which most likely come from the lips of Silenos. In the preceding trimeters Silenos has promised his sons to stay and guide them in their tracking, using his words and also a ‘hound-inciting’ whistling (172-175). What follows is an impressive stage-representation (and parody) of ancient hunting with dogs, in which apparently Silenos assumes the role of a hunter, while the Satyrs assume that of tracking-hounds. (shrink)

We take for granted that only certain kind of things exist - electrons but not angels, passports but not nymphs. This is what we understand as `reality'. But in fact, `reality' varies with each era of the world, in turn shaping the field of what is possible to do, think and imagine. Our contemporary age has embraced a troubling and painful form of reality: Technic. Under Technic, the foundations of reality begin to crumble, shrinking the field of the possible (...) and freezing our lives in an anguished state of paralysis. Technic and Magic shows that the way out of the present deadlock lies much deeper than debates on politics or economics. By drawing from an array of Northern and Southern sources - spanning from Heidegger, Junger and Stirner's philosophies, through Pessoa's poetry, to Advaita Vedanta, Bhartrhari, Ibn Arabi, Suhrawardi and Mulla Sadra's theosophies - Magic is presented as an alternative system of reality to Technic. While Technic attempts to capture the world through an `absolute language', Magic centres its reconstruction of the world around the notion of the `ineffable' that lies at the heart of existence. Technic and Magic is an original philosophical work, and a timely cultural intervention. It disturbs our understanding of the structure of reality, while restoring it in a new form. This is possibly the most radical act: if we wish to change our world, first we have to change the idea of `reality' that defines it. (shrink)

In Plotinus the myths are scattered throughout the Enneads‟ treatises. In contrast with Porphyry, Plotinus prefers to make allusions and fragmentary quotations of the myths rather than an exegesis of a comprehensive extract of a poem. Only one of Porphyry‟s works, dedicated to the allegorical exegesis of Homer, has come down to us in its integrity: The cave of the Nymphs in the Odyssey. In this work, which is studied here, Porphyry follows a complete extract of Homer in order (...) to find a hidden meaning beneath the letter of the text. Through an analysis of a small sample of the plotinian mythical kaleidoscope and then of Porphyry‟s above-mentioned work, this article intends to show the main characteristics of the mythical exegesis of the epical tradition in both authors.myth, exegesis, image, genealogy, allegory. (shrink)

Une trité d'argent portant au droit la scène de l'enlèvement de la Nymphe et au revers la légende ΒΕΡΓΑΙΟΥ fait partie d'un trésor de monnaies d'argent provenant du cimetière classique de Gazôros (Serrés). D'après le contexte archéologique, sa date d'enfouissement doit être située au milieu du IVe siècle. Deux imitations des tritai d'argent de Thasos, cinq hemiécta thasiens, un hemi- écton d'Eiôn et un hémidrachme de Néapolis faisaient également partie du trésor. Les hemiécta thasiens, qui datent des dernières décennies du (...) Ve siècle, ont eu un rôle particulièrement important dans la circulation monétaire de la région. La présence de la monnaie à la légende ΒΕΡΓΑΙΟΥ dans ce trésor nous a obligée à faire une étude approfondie de cette série, qui date des premières décennies du IVe siècle. La question de l'autorité émettrice de ces monnaies ainsi que des bronzes à la légende ΒΕΡΓ, attribués par O. Picard à la cité de Berge, est discutée. Les monnaies d'argent sont également attribuées à cette cité ; la légende avec l'ethnique au génitif neutre est interprétée comme signifiant la dénomination, selon un usage attesté par les inscriptions. (shrink)

This paper presents the sanctuary of Zeus Ammon at Kallithea, Chalcidice, where three related deities were worshipped. The cult of Dionysos and probably that of the Nymphs began in the late 8th century BC or earlier in a cave in the southern part of the sanctuary. The cult of Zeus Ammon was introduced in the first half of the 4th century BC, and in the second half of the century a Doric peristyle temple and an open-air corridor running parallel (...) to the temple and flanked by two rows of monumental bases that supported sculpture were built. The cult of Asclepios was introduced in the same period. In the 2nd century AD the sanctuary reached its apogee: the area was reorganized, the old buildings were altered and new edifices were built. Cet article présente le sanctuaire de Zeus Ammon à Kallithea en Chalcidique, où trois divinités liées entre elles étaient honorées. Le culte de Dionysos et, probablement, celui des Nymphes a commencé à la fin du viiie siècle av. J.-C., ou plus tôt, dans une grotte située dans la partie sud du sanctuaire. Le culte de Zeus Ammon a été introduit dans le premier quart du ive siècle av. J.-C. et, dans la deuxième moitié du siècle, on a construit le temple dorique péristyle et un portique ouvert parallèle au temple et flanqué de deux rangées de bases monumentales qui soutenaient des sculptures. Le culte d’Asclépios a été introduit à la même période. Au iie siècle de notre ère, le sanctuaire atteint son apogée : l’espace est réorganisé, les anciens bâtiments sont transformés et de nouveaux édifices sont construits. (shrink)

This paper examines the semantics and the narrative function of Calypso’s island, which can be understood as a locus amoenus. The description moves from the inner cave of a lovely nymph outward to the surroundings of the seductive landscape. Hermes’ pleasure at the scene stands in contrast to the disinterested attitude of Odysseus weeping on the shore, which anticipates his rejection of the nymph. The connections between this scene and the weeping Achilles looking out over the sea in a similar (...) setting further define this contrast as a central theme of the Calypso episode. The semantics of the locus amoenus in Od. 5 is paralleled by the Sirens’ meadow, which stands in juxtaposition with their seductive voice. (shrink)

Traditions that share the least number of motifs are located in continental Eurasia and Melanesia. African mythologies are poor and stand nearer to the Indo‑Pacific than to the Continental Eurasian pole. The Indo‑Pacific mythology preserved its African core. In Continental Eurasia a new set of motifs began to spread after the Late Glacial Maximum. Both sets of motifs were brought to the New World. The Indo-Pacific complex predominates in Latin, the Continental Eurasian one in North America. Sky‑maiden tales, largely unknown (...) in Africa and Australia, emerged in the Indo-Pacific borderlands of Asia. Both in Southeast Asia and in Latin America different images of the magic wife coexist (different birds, sky-nymphs, etc.), stories are often integrated into the anthropogenic myths. More specialized Swan-maiden stories spread across Northern Eurasia after the Late Glacial Maximum. Only Khori‑Buryat versions are related to actual mythology. Swan‑maiden was brought to America late by the Eskimo. (shrink)

SinceDaphnis and Chloeis a work of fiction, modern criticism has paid little attention to the topographical details of Lesbos which Longus scatters through his work. Today a preoccupation with biographical or topographical realism in literature is out of fashion, and Longus's world has in any case been described, by one of his most percipient modern critics, as ‘un monde des plus irréels’. Yet just as Longus's women reveal a striking blend of fictional romance and social realism, so the background to (...) his narrative, however much adorned with items of baroque fancy, nevertheless remains solidly based on the geography and ecology of Lesbos itself. The cave of the Nymphs, with its grotto, its spring, and its clutter of statues, may derive from the pastoral property-closet; but Longus's description of Mytilene agrees with those given by Strabo and Pausanias, and many other details—the trailing vines, the wine, the flourishing orchards, the prevalence of hares for hunting—suggest familiarity with the terrain. The description in the proem of the grove of the Nymphs, thick with flowers and trees and watered by a single spring, at once calls to mind the site of the great temple at Mesa, in the Kalloni plain. Most striking of all, since often used as evidence for Longus'signoranceof Lesbos, is his vivid description of a heavy snowfall, much at odds with later travellers' accounts of the climate's perennial mildness. But in the winter of 1964, when I was living on the island, snow lay three feet deep in the chestnut forest above Aghiassos, while Methymna was icebound, with frozen taps and sub-zero temperatures, for ten days, so that all the eucalyptus trees outside the schoolhouse died. The worst winter in living memory was that of 1953/4; the mountains are frequently snowbound. Longus, like Alcaeus, who also describes such conditions, knew what he was talking about. (shrink)

A search for traces of the voice before the phonograph, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Long before the invention of musical notation, and long before that of the phonograph, the written word was unrivaled as a medium of the human voice. In The Ancient Phonograph, Shane Butler searches for traces of voices before Edison, reconstructing a series of ancient soundscapes from Aristotle to Augustine. Here the real voices of tragic actors, ambitious orators, and singing emperors (...) blend with the imagined voices of lovesick nymphs, tormented heroes, and angry gods. The resonant world we encounter in ancient sources is at first unfamiliar, populated by texts that speak and sing, often with no clear difference between the two. But Butler discovers a commonality that invites a deeper understanding of why voices mattered then and why they have mattered since. With later examples that range from Mozart to Jimi Hendrix, Butler offers an ambitious attempt to rethink the voice—as an anatomical presence, a conceptual category, and a source of pleasure and wonder. He carefully and critically assesses the strengths and limits of recent theoretical approaches to the voice by Adriana Cavarero and Mladen Dolar and makes a rich and provocative range of ancient material available for the first time. The Ancient Phonograph will appeal not only to classicists and to voice theorists but to anyone with an interest in the verbal arts—literature, oratory, song—and the nature of aesthetic experience. (shrink)

The notion of an automaton, as it is employed in the natural philosophy of Descartes and his closest followers, has three main components. None of them is new; what is new in early modern philosophy is the uses to which this old notion is put, and the idiosyncrasies into which its components are combined by subsequent philosophers. The thaumaturgic element is never entirely suppressed; but the more down-to-earth usage exemplified in antiquity by Aristotle’s references predominates. The automaton is quite often (...) the opposite of wonderful: phenomena that might excited wonder are proved to be unworthy of it, just by showing that they are the productions of an automaton. The automaton is, first of all, a machine, and therefore an artifact, human or (if the metaphor becomes literal) divine. It offers a model of intelligibility—to use Peter Dear’s term—for a certain class of natural phenomena, namely those we find in living things. But Descartes wants from it something more. In Descartes’ usage, a machine is that which makes itself available not just to “mechanical” explanation, but to a complete explanation, an explanation that makes all others superfluous. Not all machines, of course, are automata. Two further components figure in the notion. One is that automata are typically imitative. From the automata thaumata of Aristotle’s De Motu animalium to the nymphs of Salomon de Caus’s fountains, many automata are likenesses, partaking both of the iconic (to use Peirce’s term) and the symbolic. Moving sculptures proceed moving pictures by over two thousand years. They succeeded if they convinced their audiences that they could do what their prototypes did—where the doing is typically restricted to some few sorts of act. The wind-up mouse skitters across the floor like a real mouse; but it does not eat, nor does it seek the.. (shrink)

Choses vues, non, pas même vues jusqu'au bout. Choses simplement entrevues, aperçues. Etres qui passent, souvent au féminin pluriel, comme la Béatrice de Dante, Laura de Pétrarque, la " nymphe " d'Aby Warburg, la Gradiva de Jensen et de Freud ou la " passante " anonyme des rues parisiennes selon Charles Baudelaire. Créatures ou simples formes qui surgissent ou qui tombent. Instants de surprise, ou d'admiration, ou de désir, ou de volupté, ou d'inquiétude, ou de rire. Impressions enfantines, deuils. Colères (...) aussi. Réflexions esquissées. Instants critiques. Ou descriptions, tout simplement. Phraser le passage des aperçues? Comme un recueil de circonstances, de visions en bribes, d'émotions inattendues, de pensées qui s'inventent devant des choses ou des êtres apparaissants, apparus et, très vite, disparaissants, disparus. Une phénoménologie, une poétique, une érotique du regard s'esquissent. Tout cela devenu, sans crier gare, un journal sans continuité, un ensemble de récits sans personnages bien définis, un autoportrait sans visage unique. Remonter ce journal en désordre. Découvrir, alors, qu'il était fait d'occasions (où les temps passent vite), de blessures (où les temps frappent fort), de survivances (où les temps reviennent toujours) et de désirs (où les temps adviennent pour un futur entraperçu). (shrink)