This paper discusses an Athenian calyx krater whose style, shape, and inscription allow attribution to the Pantoxena Painter, a member of the Polygnotan workshop. I argue that the unusual scene on the obverse—with a wreathed, draped youth mounting a bema before Nikai and judges—provides the only known image of a rhapsode from the second half of the fifth century BC and joins the very small group of scenes that depict this contest at all. Given the similarity to images of (...) kitharodes and victors in other mousikoi agones, the krater testifies to the continued prestige given rhapsodia in this period. Unfortunately, because the krater was looted from the tomb in Tarquinia where it was placed after export from Athens, its meaning for an Etruscan viewer is more difficult to evaluate. The lack of documentation and physical context means that only part of this vase's biography can be recovered. (shrink)

Since formulating the theory of punctuated equilibria in 1972, a group of prominent evolutionary biologists, geneticists, and paleontologists have contributed towards a significant reinterpretation of the neo-Darwinian image of evolution that had consolidated during the second half of the twentieth century. We believe a research program, which we might define as "evolutionary pluralism" or "post-Darwinism," has been outlined, one that is centered on the discovery of the complexity and multiplicity of elements that work together to produce changes in our evolutionary (...) systems. We are talking about a three-dimensional multiplicity: a multiplicity of rhythms in evolution (i.e., the theory of punctuated equilibria); a multiplicity of evolutionary units and levels (i.e., the hierarchical theory of evolution); and a multiplicity of factors and causes in evolution (i.e., the concept of exaptation). Although the reductionistic and deterministic view of natural history interprets the intelligence of evolution as a panoptic and executory rationality, evolutionary pluralism, going back to the original flexibility of the Darwinian opus, sees in the intelligence of evolution an ingenious m tis, an imperfect but very creative, craftsmanlike cleverness. The new metaphors of change introduced by evolutionary pluralism and the consequent criticism of the adaptational paradigm offer some very interesting spin-offs for the study of evolutionary systems in widely differing fields, from theoretical economics to the cognitive sciences. I propose a particular hypothesis concerning the possibility and usefulness of expanding the concept of exaptation into a general theory of developmental processes, both in biology as well as in the cognitive sciences. (shrink)

BILL MARTIN replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but two other real-life role models (...) would have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

Martin replies to Sciabarra's essay on Rand, Rush, and progressive rock with critical reflections from a Marxist perspective. Focusing on the film version of The Fountainhead, which shares much in common with film noir and Socialist Realism, Martin rejects as reification Rand's emphasis on property as the defining feature of human life. Her dismissal of rock music has overtones of racism and Eurocentrism. The rock band Rush may have drawn inspiration from Howard Roark, but two other real-life role models would (...) have been better suited: Ludwig van Beethoven and Frank Lloyd Wright. (shrink)

The essay articulates a rhapsodic reflection on the place of images, their surfacing, and the invisible that sustains them. By way of introduction, it focuses on (1) the initial scenes of Pasolini’s Medea (1969). Following this spellbinding sequence, it addresses (2) the abiding philosophical attraction to the phenomenon of dreams and visions. This will lead to (3) the story of a momentous flight from the Eastern Mediterranean to the Western coast of Italy, sometime during the VI century BCE. One of (...) the outcomes of this event was the founding of Velia, Elea in Attic Greek. These meanderings take us to the periphery of the region “we” call “the West.” More precisely, they point to the periphery of a certain received way of thinking and may contribute to unsettle it. For what begins to emerge from this rhapsody is an unusual profile of the most celebrated pre-classical thinker: Parmenides. (shrink)

The concept of facticity denotes conditions of experience whose necessity is not logical yet whose contingency is not empirical. Although often associated with Heidegger, Fichte coins ‘facticity’ in his Berlin period to refer to the conclusion of Kant’s metaphysical deduction of the categories, which he argues leaves it a contingent matter that we have the conditions of experience that we do. Such rhapsodic or factical conditions, he argues, must follow necessarily, independent of empirical givenness, from the I through a process (...) of ‘genesis.’ I reconstruct Fichte’s argument by tracing the origin of his neologism, presenting his Jena critique of Kant’s rhapsodic appeal to the forms of judgment, and illustrating the Jena period’s continuity with the Berlin period’s genetic method, while noting a methodological shift whereby Fichte directs his critique against his own doctrine of intellectual intuition in order to eliminate its ‘factical terms.’. (shrink)

In this paper, drawing on evidence internal to the Platonic dialogues (supplemented with some ancient testimonia), I answer the question, “How did Plato teach in the Academy?” My reconstruction of Plato’s pedagogy in the Academy is that there was a single person who read the dialogue aloud like a rhapsode (this is in contrast to the dramatic theatrical hypothesis, in which several speakers function as actors in the performance of a dialogue). After the rhapsodic reading, students were allowed to (...) ask that portions of the text to be re-read, to ask a question about the text, and were encouraged to enter into a broader conversation about the topic and themes brought out by the text. This later pedagogical method of interrogating and investigating a dialogue is of more importance than the mere reading of a dialogue. I contend that Plato’s experiences teaching were woven into some of the dialogues, and that Plato’s pedagogy reflects some of the ways that he taught in the Academy. I propose that excellent points made by students may have been written into revised forms of the dialogue. And not only good points, but also mistakes in reasoning may have been added into the dialogues. I suggest that the way certain dialogues are organized with “guest lecturers” and “tag-team” philosophical debates reflect Plato’s pedagogy in the Academy. Plato’s broadmindedness, his openness to various and opposing viewpoints, is also evident from both outside and inside of the dialogue. Lastly, drawing on the idea of Socratic mimēsis, I give a plausible curriculum for how Plato may have used the dialogues to teach them: he had his students “play” with them. Plato may have asked his students to enter into the roles of the characters in the dialogues to better understand them and the type of person they represent. Plato may have also asked students to take over from the position of the character in the dialogue and to suggest a better, truer account of things than what the characters said or did. (shrink)

A celebrated study of the origins of ancient Greek philosophy, now in English for the first time How can we talk about the beginnings of philosophy today? How can we avoid the conventional opposition of mythology and the dawn of reason and instead explore the multiple styles of thought that emerged between them? In this acclaimed book, available in English for the first time, Maria Michela Sassi reconstructs the intellectual world of the early Greek "Presocratics" to provide a richer understanding (...) of the roots of what used to be called "the Greek miracle." The beginnings of the long process leading to philosophy were characterized by intellectual diversity and geographic polycentrism. In the sixth and fifth centuries BC, between the Asian shores of Ionia and the Greek city-states of southern Italy, thinkers started to reflect on the cosmic order, elaborate doctrines on the soul, write in solemn Homeric meter, or, later, abandon poetry for an assertive prose. And yet the Presocratics whether the Milesian natural thinkers, the rhapsode Xenophanes, the mathematician and "shaman" Pythagoras, the naturalist and seer Empedocles, the oracular Heraclitus, or the inspired Parmenides all shared an approach to critical thinking that, by questioning traditional viewpoints, revolutionized knowledge. A unique study that explores the full range of early Greek thinkers in the context of their worlds, the book also features a new introduction to the English edition in which the author discusses the latest scholarship on the subject. (shrink)

This book proposes to rethink the relationship between philosophy and literature through an engagement with Plato’s dialogues. The dialogues have been seen as the source of a long tradition that subordinates poetry to philosophy, but they may also be approached as a medium for understanding how to overcome this opposition. Paradoxically, Plato then becomes an ally in the attempt “to overturn Platonism,” which Gilles Deleuze famously defined as the task of modern philosophy. Max Statkiewicz identifies a “rhapsodic mode” initiated by (...) Plato in the dialogues and pursued by many of his modern European commentators, including Nietzsche, Heidegger, Irigaray, Derrida, and Nancy. The book articulates this rhapsodic mode as a way of entering into true dialogue _, which splits any univocal meaning and opens up a serious play of signification both within and between texts. This mode, he asserts, employs a reading of Plato that is distinguished from interpretations emphasizing the dialogues as a form of dogmatic treatise, as well as from the dramatic interpretations that have been explored in recent Plato scholarship—both of which take for granted the modern notion of the subject. Statkiewicz emphasizes the importance of the dialogic nature of the rhapsodic mode in the play of philosophy and poetry, of Platonic and modern thought—and, indeed, of seriousness and play. This highly original study of Plato explores the inherent possibilities of Platonic thought to rebound upon itself and engender further dialogues. (shrink)

In this provocative book, Edward Schiappa argues that rhetorical theory did not originate with the Sophists in the fifth century B.C.E, as is commonly believed, but came into being a century later. Schiappa examines closely the terminology of the Sophists—such as Gorgias and Protagoras—and of their reporters and opponents—especially Plato and Aristotle—and contends that the terms and problems that make up what we think of as rhetorical theory had not yet formed in the era of the early Sophists. His revision (...) of rhetoric’s early history enables him to change the way we read both the Sophists and Aristotle and Plato. Schiappa contends, for example, that Plato probably coined the Greek word for rhetoric; that Gorgias is a “prose rhapsode” whose style does not deserve the criticism it has received; that Isocrates deliberately never uses the Greek work for "rhetoric" and that our habit of pitting him versus Plato as “rhetoric versus philosophy” is problematic; and that Aristotle "disciplined" the genre of epideictic in a way that robs the genre of its political importance. His book will be of great interest to students of classics, communications, philosophy, and rhetoric. (shrink)

Philosophy is textual - it is written and it is read - yet today much of philosophy regards itself as a kind of science, sometimes reducing itself to a species of intellectual bureaucracy. It is important to see these qualities as having their own aesthetic. Even realism is a genre. The aesthetic of the empirical and the bureaucratic, the aesthetic of the rhapsodic and of the clinical... in each of these the genres of philosophy are as creative as they ever (...) were. They are productive of worlds, not only worlds of thought, but 'real worlds' enabled by the technological and other changes that thought has envisaged. This book explores genres through the history of philosophy, providing new ways of thinking about philosophical writing. Exploring a wide range of both European and analytic philosophers and their works - including Plato, Aristotle, Hume, Kant, Nietzsche, Deleuze, Wittgenstein, Derrida and Rorty - Genres of Philosophy explores the reading and writing of philosophers who themselves read and write, revealing the textual relation to the history of philosophy. While the focus of the book is in aesthetics, Ferrell reveals that the interest in philosophy's writing turns out to be a metaphysical question. The question becomes one of evaluating the ontological basis for writing - its subject and its means of expression - within a world of thought which is presently captivated by a particular aesthetic, that of the empiricist. Presenting fresh readings of classic texts in aesthetics, and offering an original approach to the question of philosophical writing, this unique analysis will prove of particular interest to readers in European philosophy, the history of philosophy, aesthetics, and literary studies. (shrink)

“A sentimental layman would feel, and ought to feel, horrified, on being admitted into [an expert art] critic's mind, to see how cold, how thin, how void of human significance, are the motives for favour or disfavour that there prevail.” Thus writes William James. The art-world is dominated by critics who sneer and sentimentality, resist evocation, and issue stale, dispassionate appraisals. Memorized standards are coolly deployed to scan works for the features that are currently in fashion, before an icy verdict (...) is delivered. Untutored art enthusiasts make aesthetic judgments in an entirely differently way. For them, appraisal is read off “the sounding board of the body.” They use their emotions. Thus, according to James, there are two ways to assess art: cold and hot. So who is right, the rhapsodical museum-goer or the effete professional critic? As a first pass, I side with the rhapsodies. I think dispassionate appraisal is parasitic on passionate appraisal. Cool reason can never be sufficient on its own to assess artistic merit. This is a corollary of “aesthetic sentimentalism”—a view was championed by Hume and other British moralists. Of course, aesthetic sentimentalism does not entail that critics are wrong when they depart from the bubbling masses. It entails merely that good critics must be slaves to their own passions. Hacks may deliver aesthetic judgments dispassionately, but more sensitive critics have been known to muster an occasional gasp or thrill. Perhaps the refined emotions of professional critics have more validity than the crude gushings of James ’s “sentimental layman.” True beauty may be restricted to those works that elicit goosebumps in skilled viewers. Hume flirts with this idea. He thinks John Milton is objectively better than John Ogilby. Why? Because John Dryden said so, and he should know. John D. can arbitrate between the merits of John M. (shrink)

Few words in both everyday parlance and theoretical discourse have been as rhapsodically defended or as fervently resisted as "experience." Yet, to date, there have been no comprehensive studies of how the concept of experience has evolved over time and why so many thinkers in so many different traditions have been compelled to understand it. _Songs of Experience _is a remarkable history of Western ideas about the nature of human experience written by one of our best-known intellectual historians. With its (...) sweeping historical reach and lucid comparative analysis—qualities that have made Martin Jay's previous books so distinctive and so successful—_Songs of Experience _explores Western discourse from the sixteenth century to the present, asking why the concept of experience has been such a magnet for controversy. Resisting any single overarching narrative, Jay discovers themes and patterns that transcend individuals and particular schools of thought and illuminate the entire spectrum of intellectual history. As he explores the manifold contexts for understanding experience—epistemological, religious, aesthetic, political, and historical—Jay engages an exceptionally broad range of European and American traditions and thinkers from the American pragmatists and British Marxist humanists to the Frankfurt School and the French poststructuralists, and he delves into the thought of individual philosophers as well, including Montaigne, Bacon, Locke, Hume and Kant, Oakeshott, Collingwood, and Ankersmit. Provocative, engaging, erudite, this key work will be an essential source for anyone who joins the ongoing debate about the material, linguistic, cultural, and theoretical meaning of "experience" in modern cultures. (shrink)

This paper addresses debates in German idealism that arise in response to the modal shift in logic, proposed by Kant, from a logic of thinking to a logic of experience. With the Kantian logic of experience arises a problem of radical contingency or 'rhapsodic determination' for logic. While Fichte and Hegel attempt to resolve the problem of contingency by constructing rational systems aimed at established the grounds for logic, I show how Schelling brings into view, in a proto-existentialist movement, the (...) way in which the indeterminacy of the will undergirds rational system construction and, thereby, presents a limiting problem for the question of the value of system-building itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Birth of The Birth of TragedyDennis SweetIntroductionNietzsche’s first book, The Birth of Tragedy, is ostensibly an account of the psychological motives behind the creation and modifications of Greek drama, but it is really much more than this. It is the author’s first attempt to understand the dynamic processes of human creativity in general—a concern that would occupy him throughout his career. When we look at his own estimation (...) of the value of his first book, however, we see that he maintained something of a love-hate relationship to it. In the second edition, published in 1886, Nietzsche included a prefatory “Attempt at a Self-Criticism,” in which he castigates the style of his first literary effort:[T]oday I find it an impossible book: I consider it badly written, ponderous, embarrassing, image-mad and image-confused, sentimental, in places saccharine to the point of effeminacy, uneven in tempo, without the will to logical cleanliness... disdainful of proof, mistrustful even of the “propriety” of proof... an arrogant and rhapsodic book.... 1Yet Nietzsche was convinced that the book, despite its stylistic flaws, did indeed have its merits. In Ecce Homo he evaluated the positive value of The Birth of Tragedy in the following way:The two decisive innovations of the book are, first, its understanding of the Dionysian phenomenon among the Greeks: for the first time, a psychological analysis of this phenomenon is offered, and it is considered as one root of the whole of Greek art. Secondly, there is the understanding of Socratism; Socrates is recognized for the first time as an instrument of Greek disintegration, as a typical decadent. “Rationality” [End Page 345] against instinct. “Rationality” at any price as a dangerous force that undermines life. 2Since its appearance in 1872 The Birth of Tragedy has been the object of both intensely negative and strongly positive assessments among classical scholars. Either it is dismissed out of hand as a piece of unscholarly romanticism, or it is praised as a unique contribution to the study of Greek art and life, a book of seminal importance for modern classical scholarship. 3 Among those who judge the book to be valuable and original, most follow the author in regarding the “two decisive innovations” spoken of in the above quotation as the heart of the book’s value and originality. Yet few of Nietzsche’s advocates have gone on to show clearly how or in what sense these innovative insights are innovative and insightful.To understand the significance and to appreciate the originality of The Birth of Tragedy it is important to see it against the background of some of the established theories of art and tragedy which preceded it. I shall begin, therefore, by characterizing, in broad strokes, two such theories that emerged in the eighteenth century; then I shall consider how the theory of tragedy that Nietzsche offers in his first book grew out of his dissatisfaction with these earlier views. Finally I shall show how the “two decisive innovations” expressed in The Birth of Tragedy developed during the years preceding the book’s publication. [End Page 346]The Theoretical BackgroundDuring the middle decades of the eighteenth century there emerged a keen interest in providing a theoretical account of the beauty expressed in the works of classical Greek art in general and in the literary achievements of the Attic tragedians in particular. Among German writers the person most responsible for bringing about this interest was the art historian, Johann Joachim Winckelmann. According to Winckelmann, the dominant characteristics of beauty found in ancient Greek works of art are expressed in terms of their “noble simplicity and quiet grandeur [edle Einfalt und stille Grösse].” 4 The ideal qualities of harmony and composure characteristic of classical Greek sculpture reflect and embody the serene and happy world-view of the Greek artists and of classical Greek culture in general. The two best examples of this character are found in the famous “Apollo Belvedere” statue and in the equally well-known statue depicting the Trojan priest Laocoön and his sons’ being devoured by twin serpents—an example of “classical” art that would be utilized by... (shrink)

Crowning six decades of literary, rhetorical, and historical scholarship, Harry Berger, Jr., offers readers another trenchant reading. Berger subverts the usual interpretations of Plato’s kalos kagathos, showing Socrates to be trapped in a double ventriloquism, tethered to his interlocutors’ speech acts even as they are tethered to his. Plato’s Republic and Protagoras both reserve a small but significant place for a poet who differs from Homer and Hesiod: the lyric poet Simonides of Ceos. In the Protagoras, Socrates takes apart a (...) poem attributed to Simonides and uses this to finish off the famous and supposedly dangerous sophist, Protagoras. Couch City is a close reading of the comic procedures Socrates deploys against Protagoras as he reduces him to silence. But it also shows that Socrates takes the danger posed by Protagoras and his fellow sophists seriously. Even if they are represented as buffoons, sophists are among the charismatic authority figures—poets, rhapsodes, seers, orators, and lawgivers—who promote views harmful to Athenian democracy. Socrates uses Simonides’s poem to show how sophists not only practice misinterpretation but are unable to defend against it. Berger ports his roots as a pioneering literary theorist into this rhetorical discussion, balancing ideas such as speech-act theory with hard-nosed philology. The result is a provocative and counterintuitive reassessment of Plato’s engagement with democracy. (shrink)

Mae Smethurst’s work has largely aimed to articulate nō theater in Western terms from their early roots, primarily through Aristotle’s On Tragedy. Her detailed examination of the shared structure of the content of these independent and superficially dissimilar arts reveals their mutual intelligibility and effectiveness through shared underlying universals. In this spirit, I outline how Zeami answers Plato’s first challenge to artistic performance, as expressed in Ion where Plato argues that rhapsody is not an art [techné] because it requires no (...) mastery. (Rhapsodes are instead vehicles of the divine.) This challenge to poetic performing arts, that is, to their claim to be arts at all, determines criteria by which we may judge any putative art, including sarugaku and its elevation to nōgaku. Though Zeami was unaware of Plato’s challenge, he nevertheless answers it in a way that brings Plato’s own assumptions and conceptual framework into relief. In this article I outline the first step of Zeami’s reply to Plato, how nō satisfies the criteria for mastery of a subject, with some help from zen master Dōgen. The focus of this article is twofold: 1) an examination of the ways Plato’s conception of a masterable subject entails metaphysical and epistemic tenets that may be revised or rejected in Buddhist tradition, and 2) a study of the means through which the sense of mindlessness that allegedly precludes rhapsody (and kamigakari) from qualifying as art (techné/michi) contrasts with the mushin and isshin of nō (and zazen). (shrink)

_This article focuses on the poetry of Albert Saijo, one of the lesser-known figures in the Beat literary movement. I suggest here that Saijo’s work should be better-known, and in drawing out some resonances between Saijo’s poetry and Nietzsche’s philosophy, I make a case that Saijo should be taken seriously as a poet and philosopher. Saijo has been described as “a post-apocalyptic wisecracking prophet, speaking the language of the human future,” and here I provide some justification for this statement. One (...) could say that the Beat literary movement developed around the intersection of Existentialism and Zen, and this article explores that juncture in examining the play between language and silence in the writings of Saijo and Nietzsche. In addition to taking Saijo seriously, this article perhaps also opens another perspective on Nietzsche. I draw attention to the rhapsodic nature of Nietzsche’s Zarathustra and suggest that the thought of eternal recurrence might be something like a Zen kōan, or even a joke by another post-apocalyptic wisecracking prophet. The thought of eternal recurrence is compared with the bodhisattva vows, and Saijo’s poem on those vows is highlighted as a great example of his “Zensational” rhapsody._. (shrink)

Leonard B. Meyer has proposed that when musical tendencies or expectations are inhibited by musical ambiguity or the unexpected, those inhibitions and their subsequent resolutions are likely to be provocative or engaging. Music, Tendencies and Inhibitions will explore the relevance of this theory to music and various other disciplines, and to psychological and natural processes. Each chapter consists of two parts: a presentation and consideration of an aspect of Meyer's theory, and a more associative or rhapsodic section of "Reflections" on (...) this aspect. The book will focus on Meyer's aesthetic rather than his music-theoretical proclivities, and is intended for academics and students in various fields as well as educated non-academics. The music scene is fluctuating, Meyer suggests, in that new and original styles or techniques are continuously emerging or developing on a small scale; it is static in that many of these developments seem unrelated, and are not likely to be grasped or progress as a whole. It will be posited that this theory foreshadowed and reflects important ideologies of contemporary culture, including postmodernism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato and the PoetsCatalin ParteniePierre Destrée and Fritz-Gregor Herrmann, editors. Plato and the Poets. Mnemosyne Supplements: Monographs on Greek and Latin Language and Literature, 328. Leiden-Boston: Brill, 2011. Pp. xxii + 434. Cloth, $217.00.This beautifully produced volume is a collection of nineteen essays, half of them being initially presented as papers given at a 2006 conference in Louvain. Seven chapters focus on the Republic and address a variety (...) of issues: the ancient quarrel between philosophy and poetry (Glenn W. Most); Plato’s criticism of poetry and his negative attitude toward women (Penelope Murray); mimêsis as appearance-making (Gabriel Richardson); the meaning of mimêsis (Jera Marušič); Plato’s criticism and appreciation of poetry (Stephen Halliwell); thumos and the criticism of poetry (Pierre Destrée); painting, poetry, and the cognitive division of the soul (Rachel Singpurwalla). One chapter deals with myth, invented story, and true account in the Timaeus (Gretchen Reydams-Schils). Two are devoted to the Laws—mimetic correctness and choric poetry (Antony Hatzistavrou), and tragedy and philosophy (Susan Sauvé Meyer). The remaining nine chapters deal with other dialogues, although they are often discussed in connection with the Republic; the topics they discuss include: theia moira, enthousiasmos, and mimêsis in Gorgias (Fritz-Gregor Herrmann); divine possession, inspiration, and mimêsis in Ion and Republic (with references to Plato’s entire corpus, Catherine Collobert); the poet and the rhapsode as hermêneus in Ion (Carlotta Capuccino); the poet, the mad lover, and the mad philosopher as the true interpreter in Ion and Phaedrus (Francisco Gonzalez); inspiration and Plato’s psychology in Ion, Phaedrus, Politicus, Philebus, Timaeus (Stefan Büttner); theia moira in Ion and Meno, and the poets’ incomplete ascension in Symposium (Dominic Scott); Plato’s use of poetry and poets in Symposium (Elizabeth Bel-fiore); poetry and image-making in Republic and Sophist (Noburu Notomi); and poetry, the tripartition of the soul and the Form of Beauty in Phaedrus (Elizabeth Pender).As Stephen Halliwell put it in his essay, there is the seemingly Platonic attitude “which criticizes, censors and even ‘banishes’ poets, and which speaks in terms of unmasking the false pretensions and the damaging influence of poetry. But there is also the Platonic stance which never ceases to allow the voices of poetry to be heard in Plato’s own writing, which presupposes not only extensive knowledge but also ‘love’ of poetry on the part of Plato’s readers, and which at certain key junctures claims for itself nothing less than the status of a new kind of philosophical poetry and art: the status, indeed, of ‘the greatest music’ [Phaedo 61a; cf. Phaedrus 248d, 259b] and even of ‘the finest and best tragedy’ [Laws 817b]” (241). All the contributors address, in one way or another, the puzzling contrast between these two views on poetry. Halliwell, for instance, claims that Book X of the Republic “offers not a simple repudiation of the best poets but a complicated counterpoint in which resistance and attraction to their work are intertwined, a counterpoint which (among other things) explores the problem of whether, and in what sense, it might be possible to be a ‘philosophical lover’ of poetry” (244). While Most argues that “there is little or no evidence for any consciousness” of a generic opposition between philosophy and poetry tout court before Plato, “this opposition may even be in the process of being constructed” in his Republic (19) (Notomi, too, discusses this topic, and refers to the view according to which the “ancient quarrel” was Plato’s invention). [End Page 291]In reading the nineteen essays of this volume, one realizes that in Plato there is not just one poetics, or two contrasting views on poetry, but—as the editors put it—“several models of what poetry is and what the poets do” (xxii). One would have liked that these several models be explicitly discussed in a concluding chapter. The editors, however, acknowledge that neither they nor their authors aimed at achieving a unified vision of the subject: “While certain recurring themes crystallize themselves with increasing complexity in the course of the various discussions, there remain both contradictions and incompatibilities between results... (shrink)

Xenophanes of Colophon was a philosophically-minded poet who lived in various parts of the ancient Greek world during the late 6th and early 5th centuries BC. He is best remembered for a novel critique of anthropomorphism in religion, a partial advance toward monotheism, and some pioneering reflections on the conditions of knowledge. Many later writers, perhaps influenced by two brief characterizations of Xenophanes by Plato (Sophist 242c-d) and Aristotle (Metaphysics 986b18-27) identified him as the founder of Eleatic philosophy (the view (...) that despite appearances, what there is is a changeless, motionless, and eternal ‘one’. In fact, the Xenophanes who emerges from the surviving fragments defies simple classification. He was a traveling rhapsode who criticized the stories about the gods told by the poets, and he defended a novel conception of the divine nature. But he was also a reflective observer of the human condition, a practitioner of the special form of inquiry introduced by the Milesians philosopher-scientists, and a civic counselor who encouraged his fellow citizens to respect the gods and work to safeguard the well-being of their city. (shrink)

Xenophanes was a poet and rhapsode who lived in Greece during the late sixth and early fifth centuries BCE. Surviving fragments of his poetry touch on proper conduct at symposia, the measures of personal excellence, and aspects of his interactions with various notable individuals. Xenophanes also characterized various natural phenomena as products of a set of basic physical substances and processes. In a series of remarks concerning the stories about the gods told by Homer and Hesiod, the true nature (...) of the divine, and the tendency of believers to conceive of the gods as like themselves, Xenophanes explored questions central to the philosophy of religion. This essay addresses four questions: (1) Did Xenophanes espouse monotheism? (2) On what basis did he repudiate anthropomorphism in religion? (3) Why did he reject the possibility of knowledge concerning divine matters? and (4) How did he understand the relationship between god and the cosmos? (shrink)

I argue the existence of two tensions in Smith's system of ideas: the first is that between the postulate of an invisible noumenal order of the universe and the imaginary principles by means of which we connect the phenomena; the second is a tension between the noumenal order of the world where 'is' and 'ought' converge, and the various partial orders that may be reconstructed in social phenomena that leave room for irrationality and injustice. My first claim is that these (...) tensions are dialectical tensions in a unitary, albeit rhapsodically presented in writing. My second claim is that, the system’s unanswered question in the moral domain is a ‘metaphysical’ and ‘theological’ question, namely the problem of evil; by implication, I contend also that Smith was no secularist, but instead a post-skeptical fideist or agnostic, who took Bayle's question: "why are men wicked and unhappy?" quite seriously. His private ethics of prudence, justice, benevolence and his public ethics of liberty, justice, equality were modest proposals for coping with the problem of social evil in our imperfect world. (shrink)

The detrimental effect of the public recital on the quality of epic production in the first century is a stock theme both in ancient and in modern literary criticism. While previous studies on the epic recital emphasize its negative effects, or aim at its reconstruction as social reality, I focus on its conflicting representations by the ancients themselves and the lessons that we can learn from them. The voices of critics and defenders reveal anxieties about who controls the prestigious high (...) genre of epic and about the construction of gender and social status through epic's public performance. Critics of the recitatio such as Horace, Persius, Petronius and Juvenal represent it as an informal and popular event that panders to public taste and incurs infamy. These critics charge that the epic recital has an effeminizing effect both on the recitator and on his audience, a charge traditionally advanced against orators and actors. Because the epic recital in Rome lacks a performative context similar to the rhapsodic performances in Greece, its public image mirrors that of other public performances . The main point of divergence is the presence of the book, the symbol of permanent fame, which casts upon the recital the shadow of an evanescent entertainment. Defenders see the recital as instrumental to the maintenance of literature's value in society. This means that well into the first century there were those who felt nostalgia for the epic recital as a bulwark of male aristocratic values and who wanted to reclaim its prestige. Both Statius as a poet, who performed regularly at Domitian's court, and Suetonius, who acted as Hadrian's ab epistulis some twenty years after Statius' death, defend the waning reputation of the contemporary epic recital in an effort to reclaim it as a prestigious component of imperial literary culture. While critics unanimously negate the recital's role in the achievement of poetic fame in favor of the book, Suetonius chooses anecdotal evidence about the early performances by grammarians grammarians that show the important role of the recital in forging poetic fame. The emperor and the members of the new aristocracy whom Statius explicitly names as the target audience of his epic recitals have a stake in reclaiming for imperial culture an institution that went back to the second century B.C.E. and carried the prestige of an aristocratic event. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Touching TestAI and the Future of Human IntimacyMartha J. Reineke (bio)Each Friday, the New York Times publishes Love Letters, a compendium of articles on courtship. A recent story featured Melinda, a real estate agent, and Calvin, a human resources director.1 They had met at a market deli counter. On their first date, a lasagna dinner at Melinda's home, Calvin posed the question, "What are you looking for in (...) a man?" To his surprise, Melinda reached into her pocket and pulled out a two-page list, "Melinda's Husband Traits." Her 46-item list begins with "Christian, honor God, put Him first" and includes as entry number 37, "He likes to be touched and likes to touch me." Notwithstanding laudable features of Melinda's inventory, if David Levy, President of the International Computer Games Association and an expert on artificial intelligence (AI), is correct in his predictions, in the years ahead, women like Melinda who know exactly what they are looking for in a husband will desire something radically new: a robot. After all, artificial agents will soon possess or improve on every quality the romantically inclined previously have sought in a human partner. [End Page 123]Levi predicts robots will be preferred romantic partners by the middle of this century.2 Capable of providing erotic satisfaction and creating deep emotional bonds with human partners, these robots will be an achievable outcome of AI engineering that already has brought to market industrial and service robots, virtual pets, and caregiver robots for the elderly. Levi offers a research-based inventory of traits a robot will offer its human partner: kindness and understanding, a sense of humor, expressiveness, intelligence, and sociability.3 He pinpoints additional features that will facilitate romance: The ideal robot partner will elicit erotic attraction, give evidence of readiness for a serious relationship with its verbal assertions, and possess a capacity for mutual intimacy.4 Levi's argument is intentionally provocative, for he emphasizes the centrality of sex to future robot/human pairings, waxing rhapsodic about the performative superiority of robots to humans in the sexual act.5Elaborating on potential human love relationships with robots, Levi asserts that a robot will need to master imitation if a human is to want it as a romantic partner. Not only is imitation a central aspect of every human-to-human relationship, but also imitation has been identified by researchers as a crucial element in romantic desire.6 Levi states that human-to-human attraction is founded on similarities between prospective partners in appearance, personality, and social context. It is sustained only through what Levi calls "reciprocal liking."7 For romantic relationships between humans and robots to flourish, they too must engage in acts of reciprocal imitation.In highlighting the necessity of imitation in effective robot and human interactions, Levi draws close to René Girard's theory of "mimetic desire." According to Girard, imitation structures all "wanting,"8 delineating what we aspire to look like or hope to possess and determining what we value, take comfort in, or experience as a threat. Indeed, the individual is never the origin point of its desires. Each of us always desires mimetically—according to the desire of the other.9 As Scott Garrels confirms in Mimesis and Science, researchers studying imitation in developmental, comparative, and social psychology, as well as in neurophysiology and cognitive neuroscience, support Girard's claims: Imitation is fundamental in human life.10 Likewise, Girard concurs with Levi that romantic relationships are primary examples of imitative desire. As described by Girard in Deceit, Desire, and the Novel, imitative behaviors form the romantic triangles that feature prominently in fiction: for example, Odette and the many men enchanted by her in Proust's In Search of Lost Time; Anselmo, Lotario, and Camilla in Don Quixote; and Velchaninov and Troussotzki, along with Troussotzki's deceased wife and prospective fiancée, in Dostoyevsky's The Eternal Husband.11 [End Page 124]Notwithstanding similarities in Levi and Girard's views of imitation, they differ in a crucial respect. Only Girard acknowledges just how extraordinarily fraught mimesis can become. When imitators compete (e.g., for things, status, and experiences), they will contest... (shrink)

In Plato’s dialogues we often find Socrates talking at length about poetry. Sometimes he proposes censorship of certain works because what they say is false or harmful. Other times we find him interpreting the poets or rejecting potential interpretations of them. This raises the question of whether there is any consistent account to be given of Socrates’ practice as a literary critic. One might think that Plato himself in the Ion answers the question that I have raised. Rhapsody, at least (...) in the Ion , is portrayed as the activity of interpreting and evaluating the works of the poets. At first glance at least, Plato seems to conclude that this activity cannot meet the standards of a τέχνη. Rhapsodes are divine madmen. Thus, there cannot be a systematic Platonic account of literary criticism because this activity is inherently irrational and, subsequently, not something that one could engage in in a systematic way, guided by a theory of any sort. In the first part of the paper I argue that the Ion does not simply consign the Interpretation of poetry to the irrational and, as a result, does not pose an obstacle to the possibility of a Platonic literary criticism. In the second part of the paper I turn to the task of finding an account of the purpose of reading poetry and strategies for fulfilling this purpose that make systematic sense of Socrates’ multifarious remarks about poetry. (shrink)

In the contemporary literature, the most authoritative on the definition of art is the institutional theory that emerged as a response to the radicalizations in modern art associated with ready-made, pop art, conceptualism and other movements. In familiar versions of institutional theory, the participants in the so-called “artworld” (Arthur Danto's term) are enumerated “rhapsodically”, to use Kant's famous expression. In this context, the article is an attempt to “deduce the categories” by which art is defined, using the categorizing positions of (...) the participants in this “artworld”. In order to justify the approach and to relate the problematic to traditional philosophical issues, a brief overview of the “doctrine of categories” (Kategorienlehre) is given. (shrink)

One is, however, somewhat puzzled to discover that what Wild considers to be of value in Being and Time is thought less important by Heidegger, while what Heidegger takes to be the key issue of the work, is seen by Wild only to detract from and obscure its real merits. Has Heidegger failed to understand his own earlier work? In that case it must seem doubtful whether he ever understood it in the first place; on this view Heidegger appears somewhat (...) like one of those inspired rhapsodes of Plato, who could not give account of the significance of their words. Or does the later Heidegger wilfully misinterpret his earlier work? Karl Löwith was perhaps the first one to suggest this. Or is Heidegger right when he complains that Being and Time had failed to communicate its central thought effectively? In view of these divergent ways of reading Being and Time, it may be advisable to pause before one proceeds to attack or praise the book, and to raise the question: how is this book to be read? John Wild's comments imply one, and indeed rather common way of reading Being and Time. But can this approach do justice to the work, or is it, as Heidegger suggests, a misreading? (shrink)

Democracy faces threats from an emerging right-wing movement in democratic governments around the world. This may be even more prevalent in the United States because there is an evil that uses rhetorical tropes to undermine the anchor institutions of democracy: press, courts, universities, and Congress. This evil has a personification--former President Donald Trump. All the rhetorical critiques of Trump, that he is a demagogue, an authoritarian, a serial liar, a populist on steroids, fail to take into account the evil that (...) is fomented by his angry and vengeful rhetoric. Pictures of evil in Scripture, philosophy, and rhetoric bear a striking resemblance to Trump. It is not enough to say that he is dangerous to democracy. Kennedy claims that he is the evil seed in democracy that is even now sprouting new versions of the Trump rhetoric as each acolyte attempts to outrage the next. Good and Evil in the Garden of Democracy screams at the evil, fights against the evil, and then attempts to sing the songs of goodness and democracy from poets, prophets, and rhapsodes. For the health of democracy these words have been written. (shrink)

Very few nineteenth-century works are unintelligible in terms of a dual structure. Consider a Chopin Ballade or Etude as an example. Such pieces, with their continuous chromatic mutation and rhapsodic form, make little sense in classical terms. Yet once one grasps that the process of chromatic alteration is their norm, not a mode of deviation, they become perfectly and immediately intelligible. Their autonomy is in no way compromised, nor do the pieces require extrinsic support from language; any competent listener will (...) recognize that their structural tensions derive from the contrast between a continual attack on the stability of their tonal centers and the continual resilience of those centers as sources of structure. Chopin, like Schumann after him, may go so far as to treat the major and minor modes of one key as interchangeable; but even that only emphasizes the simultaneity of tonal stability and tonal instability which informs their works and clarifies their structures. Similarly, one can find in Brahms a deliberate return to the "premise structure" of classical music, as filtered through Beethoven; and Brahms' music clearly attempts to mediate between this structure and the normative instability of nineteenth-century harmony. Subotnik, however, is pressed by her thesis to deny the autonomy and dual structure of Brahms' music. So she says of him that "Those of his instrumental works which achieved popularity allowed the majority of listeners to perceive nothing in them beyond the individuality of Brahms' themes, gestures, and instrumental colors; within his works the classical identity of subjectively designed gesture and objectively rigorous structure was no longer generally audible."1 Subotnik offers no evidence in support of this claim nor does she mention a single work of Brahms in connection with it. In view of such transparently "classical" structures as the Variations and Fugue on a Theme of Handel, the Passacaglia of the Fourth Symphony, the Rondo of the Violin Concerto, and dozens of others, the claim seems improbable at best. · 1. Rose Rosengard Subotnik, "The Cultural Message of Musical Semiology: Some Thoughts on Music, Language, and Criticism since the Enlightenment," Critical Inquiry 4 : 761. Lawrence Kramer has written various articles on nineteenth- and twentieth-century poetry and on the relation between poetry and music. An assistant professor of English at Fordham University, he has written a book on Wordsworth and Keats. (shrink)

Im Ion stellt der jugendliche Platon eine Seite des historischen Sokrates dar, die in den Dialogen, die nach dessen Verurteilung und Hinrichtung verfasst sind, nicht mehr zentrales Thema ist. Platon, wie auch andere aus der jugendlichen Intelligenz Athens waren fasziniert von jenem Mann, der in Wortgefechten mit wechselnden Partnern ständig triumphiert. Ion, ein Rhapsode, glaubt in diesem Dialog zu wissen, der Beste seines Faches zu sein. Grundsätzlich nicht auf der Höhe der Diskussion wird er jedoch im Gespräch von Sokrates (...) vorgeführt. Es zeigt sich, dass er über seine Tätigkeit nicht vernünftig Rechenschaft ablegen kann. Der Kommentar erschließt den Text für den heutigen Leser und gibt philologische, historische und thematische Erläuterungen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kenneth R. Seeskin THE COMEDY OF THE GODS IN THE ILIAD "... no animai but man ever laughs." Aristotle, De Partibus Animalium, 673a8-9 No reader of the Iliad can fail to be struck by the great extent to which social relations among the gods resemble those which obtain among men. Zeus, the oldest and strongest of the Olympian deities, rules as an absolute monarchor patriarch. The "council" meetings over (...) which he presides are not unlike those which occur on earth. Like Agamemnon, he must assert his authority from time to time; and, like any mortal king, he must deal with problems relating to jealousy, adultery, dishonesty, and revenge. To the extent that the gods differ from mortal heroes, those differences are similar to the ones which separate mortal heroes and commoners. The gods occupy the highest place on the scale of excellence, beauty, and social status, mortals with divine ancestry occupy the next position, and so on down the line. Although the above picture is accurate in many respects, there is something about it which is bound to leave one cold, for, unlike his mortal heroes, Homer's gods often appear as clowns. One need only recall scenes like Hephaestus' bumbling attempt to wait on the other immortals (1.584 ff.), Hera's seduction of Zeus (14.157 ff.), or the famous theomachy (21.385 ff.) to see that, ironically, humans frequendy are more dignified than the gods they are trying to please. It was scenes like these which caused Longinus, in his essay On the Sublime, to remark that Homer appears to have made his men gods and his gods men (sec. 9). Now any long story is bound to contain comic relief. But for many authors (Shakespeare, for instance), comic relief is supplied by those whose social status is lower than that of the main characters, e.g., grave diggers, nightwatchmen, country bumpkins, or pettythieves. As Aristotle argued in the Poetics (sec. 2 and 5), comedy is an imitation of men worse than the average. In Book 2 of the Iliad, Homer does use Thersites 295 296Philosophy and Literature for comic effect; yet this scene is noteworthy for being the only one in the book which supports Aristotle's contention. In practically every other case, comedy is supplied by characters better than the average: it is supplied by the gods. Moreover, in the few cases where mortal aristocrats are involved in comic situations (e.g., the rambling speeches of Nestor), the teasing tends to be extremely mild. Farce and slapstick are reserved almost exclusively for the inhabitants of Olympus. Plato, for one, was outraged by passages where the gods look ridiculous and wanted them excised from the text. Not surprisingly, there is a tradition of modern scholars who feel a similar sense of outrage. Walter Leaf, for example, maintained that the theomachy is poorly written and thus not the work of Homer.1 Gilbert Murray argued that several of the scenes in question are in bad taste, exemplify the spirit of Milesian skepticism, and, again, are not the work of Homer.2 Wilamowitz constructed an elaborate theory which claimed that these passages are the work of a later rhapsode who probably was associated with Archilochus.3 Finally, George Calhoun, who exposed the flaws of those just mentioned, concluded that such passages show the influence not of a later period of skepticism but of an earlier, less refined period and were composed merely to please Homer's audience.4 Since it is not my purpose to enter the long debate over the authorship and unity of the text, let me state the guiding assumptions of this essay dogmatically. First, the passages in question are not interpolated and serve important artistic functions. Second, for whatever reason Homer decided to include them, their presence raises profound moral and religious questions. From the outset, it is clear that any anthropomorphic conception of the gods will have to fail in one important respect. The gods are immortal, humans are not. Thus even the lowliest human can do something which no god can—risk his life. For all of their quarrels, deceptive schemes, and forays into the thick of the fighting, the gods are... (shrink)

In "On Variations of the Classical Chinese Literary Genre terminchinesescript in Literary History," the authors analyze the representation of the classical Chinese literary genre Fu, or namely, rhapsode, in Chinese literary histories compiled in English. A unique classical literary genre, Fu commonly appears in classical Chinese literature as well as in aesthetics and philosophy, thus constituting an important part in Chinese literature in all periods from ancient to contemporary. However, Fu falls outside the quartered-division of modern western stylistics, so (...) is bound to cause problems in the compilation of a literary history in the Anglophone literary culture, as is the case in Sinology. This paper argues that variations caused in the translation of the name Fu and its configuration set-up in the English context have resulted in the under exploration of its full meanings in existing relevant studies, which necessitates future research for the sake of substantially changing the peripheral status of Chinese literature in the arena of world literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Birth of The Birth of TragedyDennis SweetIntroductionNietzsche’s first book, The Birth of Tragedy, is ostensibly an account of the psychological motives behind the creation and modifications of Greek drama, but it is really much more than this. It is the author’s first attempt to understand the dynamic processes of human creativity in general—a concern that would occupy him throughout his career. When we look at his own estimation (...) of the value of his first book, however, we see that he maintained something of a love-hate relationship to it. In the second edition, published in 1886, Nietzsche included a prefatory “Attempt at a Self-Criticism,” in which he castigates the style of his first literary effort:[T]oday I find it an impossible book: I consider it badly written, ponderous, embarrassing, image-mad and image-confused, sentimental, in places saccharine to the point of effeminacy, uneven in tempo, without the will to logical cleanliness... disdainful of proof, mistrustful even of the “propriety” of proof... an arrogant and rhapsodic book.... 1Yet Nietzsche was convinced that the book, despite its stylistic flaws, did indeed have its merits. In Ecce Homo he evaluated the positive value of The Birth of Tragedy in the following way:The two decisive innovations of the book are, first, its understanding of the Dionysian phenomenon among the Greeks: for the first time, a psychological analysis of this phenomenon is offered, and it is considered as one root of the whole of Greek art. Secondly, there is the understanding of Socratism; Socrates is recognized for the first time as an instrument of Greek disintegration, as a typical decadent. “Rationality” [End Page 345] against instinct. “Rationality” at any price as a dangerous force that undermines life. 2Since its appearance in 1872 The Birth of Tragedy has been the object of both intensely negative and strongly positive assessments among classical scholars. Either it is dismissed out of hand as a piece of unscholarly romanticism, or it is praised as a unique contribution to the study of Greek art and life, a book of seminal importance for modern classical scholarship. 3 Among those who judge the book to be valuable and original, most follow the author in regarding the “two decisive innovations” spoken of in the above quotation as the heart of the book’s value and originality. Yet few of Nietzsche’s advocates have gone on to show clearly how or in what sense these innovative insights are innovative and insightful.To understand the significance and to appreciate the originality of The Birth of Tragedy it is important to see it against the background of some of the established theories of art and tragedy which preceded it. I shall begin, therefore, by characterizing, in broad strokes, two such theories that emerged in the eighteenth century; then I shall consider how the theory of tragedy that Nietzsche offers in his first book grew out of his dissatisfaction with these earlier views. Finally I shall show how the “two decisive innovations” expressed in The Birth of Tragedy developed during the years preceding the book’s publication. [End Page 346]The Theoretical BackgroundDuring the middle decades of the eighteenth century there emerged a keen interest in providing a theoretical account of the beauty expressed in the works of classical Greek art in general and in the literary achievements of the Attic tragedians in particular. Among German writers the person most responsible for bringing about this interest was the art historian, Johann Joachim Winckelmann. According to Winckelmann, the dominant characteristics of beauty found in ancient Greek works of art are expressed in terms of their “noble simplicity and quiet grandeur [edle Einfalt und stille Grösse].” 4 The ideal qualities of harmony and composure characteristic of classical Greek sculpture reflect and embody the serene and happy world-view of the Greek artists and of classical Greek culture in general. The two best examples of this character are found in the famous “Apollo Belvedere” statue and in the equally well-known statue depicting the Trojan priest Laocoön and his sons’ being devoured by twin serpents—an example of “classical” art that would be utilized by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Pleasures of FictionDenis DuttonHuman Beings Expend staggering amounts of time and resources on creating and experiencing art and entertainment—music, dancing, and static visual arts. Of all of the arts, however, it is the category of fictional story-telling that across the globe today is the most intense focus of what amounts to a virtual human addiction. A recent government study in Britain showed that if you add together annual (...) attendances in plays and cinema with hours watching television drama, the average Briton spends roughly 6% of all waking life watching dramatic performances. And that figure does not even include books and magazines: further vast numbers of hours spent reading short stories, bodice-rippers, mysteries, and thrillers, as well as so-called serious fictions, old and new.The origins of this obsession with comic and dramatic fictions are lost in remote prehistory, as lost as the origins of language itself. But like language, we know the obsession with fiction is universal: stories told, read, and dramatically or poetically performed are independently invented in all known cultures, literate or not, having advanced technologies or not. Wherever printing arrives, it is used to reproduce fictions. Whenever television appears in the world, soap operas soon show up on the schedule. Both the forms that fiction takes and the ideas, types of characters, and kinds of conflict that make up its content can be shown to be strikingly similar across cultures. It has specialist practitioners—rhapsodes, novelists, playwrights, actors—and is governed both informally with stylistic conventions and sometimes formally—for example, by censorship laws. A love of fiction is as universal as governance, marriage, jokes, religion, and the incest taboo. [End Page 453]The question for any general aesthetics is: Why? Joseph Carroll is a literary theorist who has applied his probing mind over the last decade to the origins, nature, and functions of literary experience. His new collection of essays and reviews, Literary Darwinism: Evolution, Human Nature, and Literature (Routledge, $85.00 boards, $23.95 paper) looks at literature and literary theory through the lens of evolutionary psychology. At the same time, Carroll's eye is that of an extremely perceptive literary critic. In fact, I would judge him to be one of the most acute and knowledgeable readers of fiction I've ever encountered. It should not come as a surprise, therefore, that he is sometimes dubious, or even scathing, about evolutionary explanations of literature that have been offered up by writers whose grasp of psychology exceeds, in his opinion, their command of high literature. His complaints, however, are not to the fundamental notion that evolution by natural and sexual selection have made human beings into the story-loving animals they have become: his adjustments are intended to increase the accuracy and usefulness of Darwin's revolution. However critical he is of evolutionary psychologists, Carroll remains a Darwinian through and through.Carroll holds that the only way to attain a general theory of literature is through an account of human nature that builds from the ground up, from the most basic conditions for the evolution of the human species. A Darwinian literary theory first needs a Darwinian psychology. Once we have a basic Darwinian psychology in place, we can see that the narrative proclivities of human beings, far from being an incidental by-product of the evolved mind, are central to some of its most human functions. The structures of basic motives and dispositions are what would be appropriate for a species, as Carroll describes it, that "is highly social and mildly polygynous, that displays concealed ovulation, continuous female receptivity, and postmenopausal life expectancy corresponding to a uniquely extended period of childhood development, that has extraordinary aptitudes for technology, that has developed language and the capacity for peering into the minds of its conspecifics, and that displays a unique disposition for fabricating and consuming aesthetic and imaginative artifacts." Such a list alone, he contends, would make it impossible to imagine a blank-slate view of the mind, in which the mind evolves in a vacuum, goes onto produce culture, which then gives back to the mind all content and structure.Some of the mental processes that grow from... (shrink)

Hesiod is among the most difficult Greek poets for problems of text. This is especially true in the case of the Theogony. Today we consider an over-scrupulous analysis of the logical consistency of a text a characteristic of nineteenth-century pedantry. Yet such latitude is not always allowed the Theogony. It was only twenty-five years ago that there appeared the most ruthless survey of its contents. This was Jacoby's edition of 1930, when only a mutilated remnant of the surviving text was (...) left the original poet; the rest was added by a whole series of subsequent rhapsodes. Hesiod received very much the same treatment four years later from Schwenn. Recently, however, two developments have gone a long way towards the defence of passages excluded by scholars from what they think the authentic text of Hesiod's Theogony. Many single lines or groups of verses have been bracketed by the editors of Hesiod, since they reproduce some other part of the poem in a similar or even identical form. The researches of the Dutch scholar Otterlo have now revealed that the fault is rather that of these editors. When they stigmatize the passages with the description of aimless repetition, they fail to appreciate what Otterlo claims as an inherent principle of oral recitation, or literature derived from an oral prototype. Otterlo's term for what would be an essential feature of this literature is ring-composition. A rhapsode provides a loose unity for his poem by repeating at the conclusion to the sections of the poem the verses which also introduced them. These repetitive verses announce the beginning and then the end of each section. We are wrong if we think that they have only been transferred from their original place in the poem to some later passage because there has been a lack of proper care in the process of transmission. Certainly this repetition is no adequate reason for us to suppose their occurence a second time in our text spurious. (shrink)

This article argues that in Pindar's epinicians first-person statements may occasionally be made in the persona of the chorus and the athletic victor. The speaking persona behind Pindar's first-person statements varies quite widely: from generic, rhetorical poses—a laudator, an aoidos in the rhapsodic tradition (the “bardic first person”), an Everyman (the “first person indefinite”)—to strongly individualized figures: the Theban poet Pindar, the chorus, the victor. The arguable changes in the speaker's persona are not explicitly signalled in the text. This can (...) lead to significant ambiguities concerning the identity of the speaker (“blurred quotation,” “indeterminate speech boundaries”). The lack of a concern always to distinguish clearly the primary from the secondary narrators relates to a desire to confuse diegetic and mimetic forms; the practice of the fifth-century choral lyric poets in this regard is compared to that of other ancient Greek writers. The main challenge is to indicate how it is possible, in theory and in practice, for the athletic victor to be identified as the speaker when this is not explicitly signalled in the text; and, if this is possible, to suggest how it is possible for an audience to recognize when the speaking persona subsequently reverts to laudator or poet. An attempt is made to consider whether any formal, structural, or thematic tendencies can be observed in those passages in choral lyric where the chorus or the victor are tacitly introduced as speaking personae: such effects, it is argued, occur especially when links of ritual or genealogy enable the ode to “zoom” from the mythical past to the present occasion of the performance. The main passages discussed in the article are Pind. P.8.56–60, P.9.89–92, N.7.85, Pae. 2.73–79, and Bacch. 3.84–85. But the phenomena discussed are related broadly to other phenomena in Greek literature, in Latin poetry, and, especially, in Cicero's forensic oratory. (shrink)

In this Chapter (ch 5 of Strong Evaluation without Moral Sources), as well the following chapters, I defend a hermeneutical but nevertheless non-relativistic moral theory, taking Charles Taylor’s writings on this topic as my guide. Taylor is a realist concerning natural sciences, the ontology of persons and the ontology of goods (or meanings, significances or values). Yet, his realisms in these three areas differ significantly from one another, and therefore one has to be careful not to presuppose too rigid views (...) of what “realism” must be like. Taylor’s moral realism can be called engaged, cultural, phenomenological, hermeneutical or even “expressivist” in a sense to be clarified. According to such value realism, cognitivism is the correct view of our ordinary moral and evaluative reactions and responses to situations. In the realm of evaluative judgements, genuinely correct and incorrect (and better and worse) judgements are possible. These judgements can be implicit in our moral emotions and tacit agent’s knowledge, or more explicit in different articulations. What makes evaluative judgements correct are evaluative properties or “imports” of the situation, and both the evaluative features of situations and our correct responses to them can be further understood in terms of a plurality of (conflicting and incommensurable) goods, ideals or values (section 5.1). In 5.2 I discuss some motivations for non-cognitivism, and try to show that cognitivism can preserve these motivations. I then ask whether value-properties are metaphysically “queer” and what the perspective from which goods are accessible is. I argue for a lifeworldly, engaged access. The evaluative realm is not accessible from a disengaged perspective, but only from within an engaged, lifeworldly perspective. Evaluative properties are not merely a matter of subjective projection nor merely a matter of objective properties independent of valuers. Evaluative properties are relational, and neither the objective nor the subjective pole has priority (5.3). Then I clarify the meaning of “good” and “value”, especially in relation to the central idea that each qualitative distinction of worth expressible in thick, strongly evaluative terms specifies a “value” or a “good” or a “good-making property”. I contrast this with other meanings of “good”. (5.4) After that, I defend the irreducible plurality of such goods against more uniform principles and value monism on the one hand, and I defend their generality against more radical particularisms on the other. Further, I discuss the “lumpy” character of the evaluative realm in relation to incompatibility, incommensurability and conflicts of goods. (5.5). These theses are reconstructed from Charles Taylor’s writings, but authors like John McDowell and Joseph Raz hold similar views. Not unimportantly, Charles Taylor would add a further thesis claiming that there are “constitutive goods” which constitute the goodness of “life goods”, or which in other words bring about the fact that evaluative properties have value. I try to defend the coherence and appeal of engaged, lifeworldly moral realism without taking at first any stand on this further claim about constitutive goods. J. Schneewind (1991, 422) writes in his perceptive review of Sources of the Self that Taylor does not really pay attention to the metaethical debates of 20th century value-theorists. While Taylor’s contribution could have benefited from the work already done in the field, and while Taylor’s philosophizing often leaves it open how his views relate to the views of others, his approach manages to be remarkably original. One might add that due to the theoretically “rhapsodic” nature of Taylor’s work, his theory has received criticism from opposing directions. He tries to defend several theses, which many critics seem to think cannot be held together. Taylor seems to be both communitarian and expressive individualist stressing authenticity; both historicist and universalist; both anthropocentricist and deep ecologist; a realist and a cultural relativist. In this work, some of these seemingly contradictory combinations are defended, while some of them are criticized. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reading Audio BooksWilliam IrwinI hide my audio book habit because most of my colleagues, and even some of my snobbier students, regard audio books as a sign of an impending dark age of mass illiteracy. Feeling uneasy, I wonder: when The Brothers Karamazov comes up in conversation am I obliged to "confess" that I listened to the unabridged audio book, but did not silently read the massive tome? Is (...) there a difference that makes a difference between listening to an audio book and reading a printed book?IPeople read less today, partly because reading silently is not social; we crave the company of loved ones at the end of the day, and so prefer to watch television with them. Silent reading does not fit today's multitasking lifestyle; you can listen to music while you drive or jog, but you cannot read a book. Or, then again, perhaps you can, if listening to an audio book is reading after all. Time does not need to be specifically set aside for an audio book the way it does with a conventional book—the lights don't even have to be on. And surprisingly, it is satisfying to listen to a book ten minutes at a time while running errands. Perhaps this is because getting started is as easy as pressing a button. By contrast, few people read printed books in ten minute blocks, presumably because it takes something for most people to warm up to reading. If they are going to read, then they are going to do it for a sustained time—something longer than a ten-minute block. It is easier to "push through" and finish an audio book. I nearly gave up on Catch-22; it's too thick and over the top with satire for my taste. And I surely would have given up on it if I had been reading the book silently. I stuck with [End Page 358] the audio book, however, largely because it was easy to continue; I just pressed play every time I got in my car.Books on tape have been available for quite some time, but, despite often being abridged, they were too clunky and cumbersome for most people. The availability of books on CD and for MP3 download makes it all much more convenient. Audio books are now the fastest growing segment of the book industry and are likely to become even more common and popular, perhaps some day eclipsing the sale of conventional books, perhaps some day becoming the normal way of "reading" literature. And far from being abridged, some audio books today include extras. For example, the audio version of The Amber Spyglass includes epigrams before each chapter that are not in the print version.IIHarold Bloom says, "Deep reading really demands the inner ear as well as the outer ear. You need the whole cognitive process, that part of you which is open to wisdom. You need the text in front of you."1 Before listening to audio books myself I would have agreed with Bloom; but now I suspect he simply has never listened to an audio book. Skeptical of literature on audio, I started my audio experience with nonfiction. Pleasantly surprised with nonfiction, I tried listening to fiction and found the presentation very different. Nonfiction books are simply read, whereas works of fiction are typically performed—characters get distinct voices and the reader really puts on a show. Most audio book performances of literature are much like a one-man play, taking us back to the days of traveling bards and rhapsodes.In The Performance of Reading Peter Kivy highlights that for most of its history Western literature has been experienced out loud.2 As is well known, Homer's Iliad and Odyssey were performed out loud by bards, as Beowulf was centuries later. But less well known is the fact that even after the invention of the printing press, when books were still scarce and expensive, even people in possession of books generally read them out loud to themselves and to others. So it is odd that along with Harold Bloom, my colleagues and students, look with mistrust at... (shrink)

In Plato’s Ion, inspiration functions in contradistinction to technē. Yet, paradoxically, in both cases, there is an appeal to divination. I interrogate this in order to show how these two disparate accounts can be accommodated. Specifically, I argue that Socrates’ appeal to Theoclymenus at Ion 539a-b demonstrates that Plato recognizes the existence of intuitive seers who defy his own distinction between possession and technical divination. Such seers provide an epistemic model for Ion; that he does not notice this confirms he (...) is not an exemplary rhapsode. (shrink)