So many scholars nowadays believe that the final scenes of the Seven against Thebes as we have them have been considerably distorted and interpolated that some may not be aware that such an opinion was first expressed little more than ioo years ago. The first scholar to do so was A. Scholl, who afterwards recanted.

The following notes concern textual problems in the prologue and parodos of Aeschylus’ Seven against Thebes. The text and apparatus criticus are based on those of M.L. West, Aeschylus: Tragoediae.

In Classical Quarterly N.S. ix , 80 ff. Professor Hugh Lloyd-Jones published an article on the closing scenes of Seven Against Thebes. In it he directed an assault on the orthodox belief that these scenes are, in whole or in part, not authentic. The movement in favour of authenticity seemed all the stronger when independently, and in the same year, Walter Potscher put forward arguments in Eranos in defence of some parts of the disputed passages.

The essential purpose of the present article is to put forward a new theory concerning the last scene of the Septem, 1005–78. The problem of the play's ending as a whole has been very thoroughly discussed by P. Nicolaus, Die Frage nach der Echtheit der Schlussszene von Aischylos' Sieben gegen Theben ; since I have no wish to duplicate Nicolaus's work I shall deal only very briefly with those aspects of the problem on which I find myself in agreement with (...) him and with other scholars. (shrink)

The essential purpose of the present article is to put forward a new theory concerning the last scene of the Septem, 1005–78. The problem of the play's ending as a whole has been very thoroughly discussed by P. Nicolaus, Die Frage nach der Echtheit der Schlussszene von Aischylos' Sieben gegen Theben ; since I have no wish to duplicate Nicolaus's work I shall deal only very briefly with those aspects of the problem on which I find myself in agreement with (...) him and with other scholars. (shrink)

In the initial verses of Seven against Thebes, Eteocles recognizes the need of pronounce the right words as one of his duties as leader and defender of the city of Thebes. The concerns of Eteocles for what ought, or ought not, be said towards an imminent attack comes from a perception of language as a divine form of the world which base itself on the belief among the Greeks that words have a numen in itself and (...) leads, thus, to a prophetic fulfillment. The aim of this paper is, therefore, reveal the contribution of the word to the defense of the city in Seven against Thebes, by Aeschylus. (shrink)

A study of the last drama of Aeschylus' trilogy concerned with the fortunes of the house of Laius that ends with the story of Oedipus' sons, the enemy brothers, who self-destruct in mutual fratricide but thereby save the besieged city of Thebes. The book's findings, however, far exceed these limits to explore the relationships between language and kinship, as between family and city, self and society, and Greek ideas about the nature of human development and identity.

Để xem bóng đá và phát sóng video trực tiếp tốc độ cao, Xoilac là trang web lý tưởng. Đặc biệt, Xoilac không có bất cứ quảng cáo nào, vì vậy người xem vẫn thoải mái thưởng thức trận bóng đá mà không lo bị phân tâm vì bất cứ vấn đề gì. Ngoài ra, Xoilac có đội ngũ dày dặn chuyên môn, luôn đưa ra những nhận định chuẩn xác cho từng trận đấu bóng đá. Với đồ hoạ sinh (...) động, âm thanh lôi cuốn và sống động, Xoilac sẽ lưu lại dấu ấn sâu đậm trong tâm trí người xem bóng đá. (shrink)

Three of Aristophanes' eleven extant comedies use the typical comic device of role reversal to imagine worlds in which women are "on top." Freed from the social constraints which keep them enclosed within the house and silent in the public realms of discourse and action, women are given a field and context on the comic stage. They issue forth to lay their plans, concoct their plots, and exercise their power over men.The Lysistrate and the Ecclesiazousae stage of the intrusion of (...) women into the public spaces of Athens, the Acropolis and Agora, respectively, as an intrusion into the political and economic life of the city. The Thesmophoriazousae, however, resituates the battle of the sexes in another domain, that of aesthetics, and, more precisely, that of theatre itself. Instead of the collective confrontation of men and women, the play directs the women's actions against a single male target, the tragic poet, Euripides.Froma I. Zeitlin, an associate professor of classics at Princeton University, is the author of several articles on Greek tragedy and on the ancient novel. Her monograph, Under the Sign of the Shield: Language, Structure, and the Son of Oedipus in Aeschylus' "Seven against Thebes," is forthcoming, and she is presently completing The Divided World: Gender and System in Aescylean Drama. (shrink)

BLWith Latin text and English translation The epic poem the Thebaid was composed by Statius about AD 80 to 92 in twelve books. The subject is the expedition of the Seven against Thebes in support of the attempt by Oedipus' son Polyneices to recover the throne from his brother Eteocles. Book IX is set in the midst of the fighting before the eventual death of the two brothers. In this new edition of Book IX Dr Dewar accompanies (...) the Latin text with apparatus criticus, a translation, and an extensive introduction and commentary. The introduction contains sections on Statius' life and works, a summary of the epic, its themes and characters, and poetry, the textual tradition, and Statius' influence on later European literature. The commentary, the first on the ninth book to be published in Britain this century, is written in the light of recent scholarship. It examines in close detail Statius' style and language, use of models, and literary intentions. It is Dr Dewar's hope that this edition will help to explain the poem's great popularity in the Middle Ages, and even restore something of its lost prestige. (shrink)

Blighted and accursed families are an inescapable feature of Greek tragedy. N.J. Sewell-Rutter gives the familiar issues of inherited guilt, curses, and divine causation a fresh appraisal, with particular reference to Aeschylus' Seven against Thebes and the Phoenician Women of Euripides. All Greek quotations are translated.

In a recent paper, M. Finkelberg has endorsed part of M.L. West's emendation of the fifth strophe of the second stasimon in Aeschylus’ Seven against Thebes. In her opinion, accepting West's emendation also allows adopting earlier emendations proposed by Schütz and Prien, leading to a better understanding of the passage. It is recalled that this is where the chorus relates the disasters that ensued from Oedipus’ discovery of the truth about his marriage. In the following short discussion, (...) I intend to revisit and defend once again the reading, according to which the two acts mentioned in connection with Oedipus’ discovery are gouging out his eyes and casting a curse on his sons, and not murdering his father and bedding his mother. (shrink)

BLWith Latin text and English translation The epic poem the Thebaid was composed by Statius about AD 80 to 92 in twelve books. The subject is the expedition of the Seven against Thebes in support of the attempt by Oedipus' son Polyneices to recover the throne from his brother Eteocles. Book IX is set in the midst of the fighting before the eventual death of the two brothers. In this new edition of Book IX Dr Dewar accompanies (...) the Latin text with apparatus criticus, a translation, and an extensive introduction and commentary. The introduction contains sections on Statius' life and works, a summary of the epic, its themes and characters, and poetry, the textual tradition, and Statius' influence on later European literature. The commentary, the first on the ninth book to be published in Britain this century, is written in the light of recent scholarship. It examines in close detail Statius' style and language, use of models, and literary intentions. It is Dr Dewar's hope that this edition will help to explain the poem's great popularity in the Middle Ages, and even restore something of its lost prestige. (shrink)

In postwar Western culture, the myth of Antigone has been the subject of noted literary, literary-critical, dramatic, philosophical, and philological treatments, not least due to the strong influence of one of the key plays of the twentieth century, Jean Anouilh’s Antigone. The rich discussion of the myth has often dealt with its most famous formulation, Sophocles’ Antigone, but has paid less attention to the broader ancient context; the epic sources (the Iliad, Odyssey, Thebaid, and Oedipodea); the other tragic versions (Aeschylus’s (...) Seven Against Thebes and his lost Eleusinians; Euripides’s Suppliants, Phoenician Women, and Antigone, of which only a few short fragments have been preserved); and the responses of late antiquity. This paper analyses the basic features of this nearly thousand-year-long ancient tradition and shows how they connect in surprising ways – sometimes even more directly than Sophoclean tragedy does – with the main issues in some unique contemporary traditions of its reception (especially the Slovenian, Polish and Argentine ones): the question of burying the wartime (or postwar) dead and the ideal of reconciliation. (shrink)

The lover of Aeschylus and Verrall, remembering the appendix to Verrall's Seven against Thebes, pricks up his ears at etetumos and listens for a verbal equivocation.

For most readers of the Phenomenology of Spirit, Hegel’s example of “Ethical Action” is taken from Sophocles’ Antigone. In fact, however, Hegel provides us with a trilogy of tragic examples. The first is Sophocles’ Oedipus Tyrannos; the second, Aeschylus’s Seven against Thebes; Antigone is but the third. Further, just as a dramatic trilogy was followed by a satyr play among the ancients, ethical action’s final moment is taken from Aristophanes’ Ekklesiazousai. These four examples do not form a (...) simple series where each equally expresses the truth of ethical action. Rather, they are increasingly adequate to that truth. (shrink)

This paper is an attempt to show that considerations similar to those which have been applied by the present writer to the Suppliants throw more light than is generally admitted on the construction and dramatic value ox the Septem. The criticism of Dr. Verrall, whom I cannot mention without a deep sense of gratitude and sorrow, and the edition by Prof. Tucker, have made it unlikely that any careful student will without argument dismiss the play as uninteresting. We are no (...) longer content to remark that ‘the scene between Eteocles and the Chorus is dramatically unnecessary,’ that ‘in the episode, vv. 370–708, which is the centre and kernel of the Seven against Thebes, we look in vain for action,’ that ‘there is no drama proper except between Antigone and the Herald.’. (shrink)

Besides seeing a rabbit or seeing that the rabbit is grayish, do we also sometimes see barely just the particular animal (not as an animal or as anything) or the feature rabbitness or grayness? Such bare, nonverbalizable perception is called "indeterminate perception" (nirvikalpaka pratyakṣa) in Nyāya. Standard Nyāya postulates such pre-predicative bare perception in order to honor the rule that awareness of a qualified entity must be caused by awareness of the qualifier. After connecting this issue with the Western debate (...) concerning the "myth of the given," seven distinct arguments are presented showing that the very notion of such indeterminate perception is epistemically otiose and that the Nyāya theory of perception is better off without it. (shrink)

Overwhelmingly, students desire the opportunity to earn extra credit because they want higher grades, and many professors offer extra credit be­cause they want to motivate students. In this paper, I define the purposes of both grading and extra credit and offer three traditional arguments for making extra credit assignments available. I follow with seven arguments against the use of extra credit that include unnecessary extra work, grade inflation, and ultimately paradox. I finish with an example of a case (...) where extra credit could be justified, although it relies on an important equivocation. Ultimately, I show that extra credit is neither a pedagogically sound nor a conceptually coherent grading practice, and I conclude that extra credit should not be part of the pedagogical toolbox. (shrink)

What do we mean when affirming ‘the powerful return of the state’? Do we have in mind the jus ad bellum employed by aggressive states, or are we thinking of the duties that a state has towards its citizens? Starting from these questions, this article aims to reconceptualize the issue of the political legitimacy of a state by reconsidering the relationship between power and violence. Among other forms of emergencies and violence, then, a legitimate state needs to be capable of (...) responding to gender-based (sexual and domestic) violence. To reinforce my suggestion, I will reinterpret some Greek and Roman myths related to the founding of cities (Thebes, Athens and Rome). Through these myths, we will be able to illustrate, in particular, the necessity for a state to be capable of combating both public and private violence, reframing the notion of nemesis (as a fate that can be changed by descendants) and fear (as a status that can be stopped in the present). (shrink)

In this paper I will argue that a profile of the pseudo-sciences can be gained from the scientific pretensions of the pseudo-scientist. These pretensions provide two yardsticks which together take care of the charge of scientific prejudice that any suggested demarcation of pseudo-science has to face. To demonstrate that my analysis has teeth I will apply it to Freud and modern-day Bach-kabbalists. Against Laudan I will argue that the problem of demarcation is not a pseudo-problem, though the discussion will (...) bear out that Laudan's replacement question, namely the question whether someone's theory is well-confirmed, is not, as Lugg claimed, independent of the question as to whether that person is a pseudo-scientist. I further argue that my prototype pseudo-scientists do not have the shortcomings highlighted in Thagard's recent analysis of pseudo-science. (shrink)

The author submits that Popper's social philosophy rests on seven pillars: rationality (both conceptual and practical), individualism (ontological and methodological), libertarianism, the nonexistence of historical laws, negative utilitarianism ("Do no harm"), piecemeal social engineering, and a view on social order. The first six pillars are judged to be weak, and the seventh broken. In short, it is argued that Popper did not build a comprehensive, profound, or even consistent system of social philosophy on a par with his work in (...) epistemology. Still, he did make some important contributions to the field, such as unveiling the philosophical roots of totalitarianism and defending social engineering against both revolutionists and conservatives. (shrink)

Those who have read me, in particular those who have read “Paul de Man’s War,” know very well that I would have quite easily accepted a genuine critique, the expression of an argued disagreement with my reading of de Man, with my evaluation of these articles from 1940-42, and so on. After all, what I wrote on this subject was complicated enough, divided, tormented, most often hazarded as hypothesis, open enough to discussion, itself discussing itself enough in advance for me (...) to be able to welcome questions, suggestions, and objections. Provided this was done so as to demonstrate and not to intimidate or inflict wounds, to help the analysis progress and not to score points, to read and to reason and not to pronounce massive, magical, and immediately executor verdicts. Five of the six “responses” that I reread last night are written, as one used to say, with a pen dipped in venom. Less against the de Man of 1940-42, perhaps, then against me . Less against me, in truth, than against “Deconstruction” . How can the reader tell that these five “critical responses” are not “responses,” critical texts or discussions, but rather the documents of a blinded compulsion? First of all, the fact that they are all monolithic. They take into account none of the complications of which my text, this is the very least one can say, is not at all sparing. They never seek to measure the possibility, the degree, or the form, as always happens in an honest discussion, of a partial agreement on this or that point. No, everything is rejected as a block; everything is a block and a block of hatred. Even when, here or there, someone makes a show of being moved by my sadness or my friendship for de Man, it is in order to get the better of me and suggest that I am inspired only by friendship, which will appear ridiculous to all those who have read me. Inspired by friendship means for those people misled by friendship. How foreign this experience must be to them! Jacques Derrida is Directeur d’Études at the École des Hautes Études en Sciences Sociales as well as professor at the University of California, Irvine, and visiting professor at the Graduate School of the City University of New York. His most recent publication in English is the collection Limited Inc , which includes a new afterword, “Toward an Ethic of Discussion.” Peggy Kamuf is professor of French at the University of Southern California. Her most recent book is Signature Pieces: On the Institution of Authorship . She has also contributed essays to Reading de Man Reading and Responses: On Paul de Man’s Wartime Journalism , and is currently editing A Derrida Reader. (shrink)

Creationism with respect to fictional entities, i.e., the position according to which ficta are creations of human practices, has recently become the most popular realist account of fictional entities. For it allows one to hold that there are fictional entities while simultaneously giving such entities a respectable metaphysical status, that of abstract artifacts. In this paper, I will draw what are the ontological and semantical consequences of this position, or at least of all its forms that are genuinely creationist. For (...) some people, these consequences will sound as plagues against the position; for some others, especially realists on ficta, they are welcome results. Although I hold that all forms of genuine creationism have these consequences, I will conclude by explaining why I take moderate creationism, according to which ficta are created by means of a reflexive stance on the make-believe practice grounding them, to be the best of these forms. (shrink)

In March 2005 a rescue excavation uncovered a spectacular new epigraphic find from Thebes. Now on display in the Archaeological Museum of Thebes, a column drum 0.41 m in height has inscribed on it two identical epigrams, one (the older one) written vertically in Boeotian script and a second (later) Ionian copy written horizontally on the other side. Nikolaos Papazarkadas published theeditio princepsof the epigram in 2014, using both inscriptions to create a composite text. As Papazarkadas realized, the (...) column drum, which has a chi-shaped orifice at one end meant to hold a stationary object, at one point displayed a ‘shining shield’ (φαεννὰν | [ἀσπ]ίδα, lines 3–4) that Herodotus had seen in the temple of Apollo Ismenius in Thebes. Moreover, this shield was interpreted by Herodotus (relying on the language of the inscription and likely on the commentary of temple staff) as having been dedicated by the Lydian king Croesus to the hero Amphiaraus, when he was ‘testing’ the various oracles in Greece in order to decide on a course of action against his rival Cyrus of Persia. (shrink)

Malice that cannot speak its name, cold-blooded but secret hostility, impotent desire, hidden rancor and spite--all cluster at the center of envy. Envy clouds thought, writes Joseph Epstein, clobbers generosity, precludes any hope of serenity, and ends in shriveling the heart. Of the seven deadly sins, he concludes, only envy is no fun at all. Writing in a conversational, erudite, self-deprecating style that wears its learning lightly, Epstein takes us on a stimulating tour of the many faces of envy. (...) He considers what great thinkers--such as John Rawls, Schopenhauer, and Nietzsche--have written about envy; distinguishes between envy, yearning, jealousy, resentment, and schadenfreude ; and catalogs the many things that are enviable, including wealth, beauty, power, talent, knowledge and wisdom, extraordinary good luck, and youth. He looks at resentment in academia, where envy is mixed with snobbery, stirred by impotence, and played out against a background of cosmic injustice; and he offers a brilliant reading of Othello as a play more driven by Iago's envy than Othello's jealousy. He reveals that envy has a strong touch of malice behind it--the envious want to destroy the happiness of others. He suggests that envy of the astonishing success of Jews in Germany and Austria may have lurked behind the virulent anti-Semitism of the Nazis. As he proved in his best-selling Snobbery, Joseph Epstein has an unmatched ability to highlight our failings in a way that is thoughtful, provocative, and entertaining. If envy is no fun, Epstein's Envy is truly a joy to read. (shrink)

In my ‘Seven Sins of Pseudo-Science’ (Journal for General Philosophy of Science 1993) I argued against Grünbaum that Freud commits all Seven Sins of Pseudo-Science. Yet how does Freud manage to fool many people, including such a sophisticated person as Grünbaum? My answer is that Freud is a sophisticated pseudo-scientist, using all Seven Strategies of the Sophisticated Pseudo-Scientist to keep up appearances, to wit, (1) the Humble Empiricist, (2) the Severe Selfcriticism, (3) the Unbiased Me, (4) (...) the Striking but Irrelevant Example, (5) the Proof Given Elsewhere, (6) the Favorable Compromise, and (7) the Display of Methodological Sophistication. One should note that not all strategies are disreputable in themselves. But all are used very cunningly so as to hide weaknesses in Freud's arguments. To be fair, quite a few of his methodological remarks are sophisticated enough. As Freud combines these sophisticated remarks with an appalling methodology in practice, I call him a sophisticated pseudo-scientist. I do not claim that these rhetorical strategies are specific to him. (shrink)