Après l’Odyssée d’Homère et les Argonautiques d’Apollonios de Rhodes, les romans grecs offrentassurément les plus célèbres des récits de voyage de la littérature grecque de l’Antiquité. Cinq romans ont été composés entre le ier et le iiie siècles après J.-C. et nous ont été conservés par l’intermédiaire de manuscrits médiévaux. Dans ces textes, les héroïnes sont embarquées dans une navigation périlleuse qui sera l’occasion d’une mise à l’épreuve des qualités qui leur seront utiles à leur retour pour accomplir leur destin (...) d’épouses et de mères. Ce type de voyage au long cours n’a guère de correspondant réel dans la société grecque. Mais, par le roman, celles-ci accèdent à un statut nouveau dans l’histoire de l’imaginaire grec et prennent place à côté des plus grands héros de la mythologie. (shrink)

Transformation of the sparrow and the butterfly -- Meeting the gods of poverty in a dream -- The greatest joys of the cicada and its cast-off shell -- The owl's understanding -- The centipede questions the snake -- The toad's way of the gods -- The mysterious technique of the cat -- Afterword by William Scott Wilson.

A graphic novel version of the classic book that first introduced Westerners to the samurai ethos. This graphic novel version of the cult classic Bushido brings the timeless secrets of the samurai to life. Originally published in 1905, Bushido was the first book to introduce Westerners to the samurai ethos. Written by Inazo Nitobe, one of the foremost Japanese authors and educators of the time, it describes the characteristics and virtues that are associated with bushido—honor, courage, justice, loyalty, self-control—and explains (...) the philosophy behind how samurai were educated and trained; the connection between the sword and the samurai; seppuku; and the position of women in samurai culture; among other themes. To this day,Bushido is considered a must-read for anyone who wants to understanding the soul of Japan and navigate their world with integrity and honor. (shrink)

Outlines the ethical code of the samurai in a time when the martial skills of the warrior became redundant and his role was subsumed into governmental service, in graphic novel form.

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

African rites of passage serve as a cultural school educating the initiates and transmitting cultural values, tribal history, law, religious beliefs, moral laws, practical arts and etiquette.

This article extends the concept of symmetry to ethics. Using the case of canola in Canada, the authors argue that grades and standards simultaneously subject humans and nonhumans to rites of passage that test their "goodness. " Then, they further develop a tentative typology of standards. The authors argue that these standards allow something resembling the neoclassical market to be established, create the conditions for economic analysis, and allocate power among human actors.

The growing interest in fragmentalism is one of the most exciting trends in philosophy of time and is gradually reshaping the contemporary debate. Providing an extensive interpretation of this view, Samuele Iaquinto and Giuliano Torrengo articulate a novel theory of the passage of time and argue that it is the most effective in vindicating the inherent dynamism of reality. Iaquinto and Torrengo offer the first full-range application of fragmentalism to a number of metaphysical topics, including the open future, causation, (...) the A-theoretic interpretation of special relativity and time travel. The resulting picture, they argue, conveys the potential of a radically new understanding of time. (shrink)

This paper focuses on a specific aspect of a Japanese rite of passage called Shichigosan. Although its origins go back to premodern Japan, its contemporary pattern truly reflects the modern living conditions of the Japanese. Today the ritual is one of the most popular family celebrations. Commercialization has significantly influenced the pattern of celebration in the postwar period and as a result, consumption practices have become inherent parts of the ritual. The paper examines this development from a historical perspective. (...) Furthermore, it discusses the process through which consumption practices contribute to the event’s significance, not diminishing but rather enhancing its importance in the observers’ eyes. Conspicuous consumption thus becomes a creative two-directional process, one which is sustained by families’ aspirations and desires, and one which is informed by forces emanating from the commercial sector and from the media. (shrink)

The comparative analysis of the W. Golding’s novels demonstrates that the identification of God is the central problem in the works of the famous English writer. Golding did not consider Divinity only in connection with Christian orthodoxy, rational view of the world. In his novels, God gets different embodiments according to the wide cultural tradition. The group of heroes is trying to determine Divinity by force of the religious ritual in such fables as Lord of the Flies, The Inheritors, (...) class='Hi'>Rites of Passage, Double Tongue, The Scorpion God. The writer was convinced that the base of any religion is violence and triumph of mass consciousness, it can lead to tyranny, totalitarian system. The heroes of novels Pincher Martin, Darkness Visible opposed God to the ego. To Cris and Sophy God became ‘the black lighting‘, the death, the damnation. By the example of their fates, Golding revealed the cult of self-will and individual freedom as the main problem of the contemporary society. Paths to God of Golding’s saints are different and profoundly individual, they are far away of any standards. They believe in spiritual foundation of the objective reality, they can reach the theophany and spread their consciousness to the compassion of other people. However, saints are exclusion, that is why the author’s viewpoint is conveyed by the spiritual searches of Jocelin, Talbolt, Arieka. Each of them had come up the hard way from proud self-assurance to doubting and searching the truth. Golding supposed that the man cannot touch the ground of Divinity, but his aspiration for God is the root of human and morality. The author saw God as spiritual foundation of the objective reality that is becoming acquainted due to intuition, individual spiritual search and creativity. (shrink)

This book offers an ideal first reader in ancient Greek. It presents a selection of extracts from a comprehensive range of Greek authors, from Homer to Plutarch, together with generous help with vocabulary and grammar. The passages have been chosen for their intrinsic interest and variety, and brief introductions set them in context. All but the commonest Greek words are glossed as they occur and a general vocabulary is included at the back. Although the book is designed to be used (...) by students who have only completed a beginner's course in Greek, students of all ages will find that it helps them to improve their ability and confidence in reading a wide range of prose and verse texts, while at the same time providing a fascinating and copiously illustrated introduction to the riches and variety of ancient Greek literature over a period of almost a thousand years. (shrink)

A decade or so ago, graphic depictions of female circumcision came to define the heart of a campaign presumably aimed at sensitizing the world about the tragic consequences of the practice. At the height of the campaign, it was easy to assume that the prospect for meaningful change was dim. Evolving knowledge about the practice illuminates the bottom-line of issues and demonstrates the centrality of empowerment as an elimination strategy. Interrogating an acclaimed initiative that has successfully helped bring about the (...) abandonment of female circumccision in several places, this article analyzes the definitive role of attending to the full belly for anti-circumcision purposes. (shrink)

What if individual psychology took another path than the one guided by the idea of the “Sturm und Drang” of adolescence? What if this path less-traveled led to community-oriented rites of passage that satisfied youth's deep craving for the ancestral wisdom of the Universe … and simultaneously affirmed that parents, too, would continue to grow and contribute as they transited mid-life? This article brings the reader down the path less-traveled to explore navigational aids for future travelers and provides (...) an example of the explosion of community engagement and creativity that can occur when the transitions of adolescence and mid-life, traditionally viewed as crises, become opportunities and assets for fostering individual health and community resiliency, adaptation, and well-being through community-oriented rites of passage. (shrink)

This article focuses on Claudio Magris’s reflections on time by interrogating two time-related notions from which his entire narrative oeuvre develops: the idea of eternal con-temporariness and his reworking of Carlo Michelstaedter’s concept of ‘persuasion’. Furthermore, it aims to explore the implications of these notions for the ways in which Magris revisits and represents both the familiar and the less familiar places that make up the fabric of his literary journeys. The discussion of Magris’s use of the two notions of (...) time begins with Danube, where he recounts the experiences of the traveler-narrator on the vast itinerary from the river’s source to the Black Sea. Following the curved and sinuous path that runs parallel to the Danube’s riverbanks, the traveler-narrator records his reflections on the ways in which the historical and intellectual European figures, as well as the ordinary characters around which the book centers, have dealt with the experience of time. In his two later novels, Microcosms and Blindly, Magris picks up the theme of reflection again as it continues to shape his wanderings through global and familiar places. In the short stories of Tempo curvo a Krems [Curving time in Krems], in contrast, the aging characters have somehow come to a standstill after migrating from Central and Eastern Europe to northern Italy. Here, Magris seems to take a different perspective, since the elderly protagonists have renounced the search for persuasion and tend to withdraw from life. At the same time, however, the narrator’s conjectures from the seashore again lead the reader back to the very beginning of Magris’s long-life literary journey “through time and against time.” By evoking the image of the river’s delta and the narrator’s sense of uncertainty when the latter faces the open sea, Magris reaffirms once again the importance of preserving a sense of the beyond through which to discover the complexity and uncertainty of one’s own identity. (shrink)

In the fourth book of Achilles Tatius' romance the young and beautiful heroine Leucippe collapses suddenly. When she is approached by the hero Clitophon she leaps to her feet, strikes his face, kicks his friend, and has to be overpowered and tied up. Several chapters later we learn that this behaviour had in fact been caused by an overdose of an unnamed aphrodisiac. In the meantime, however, bystanders, consisting of members of an Egyptian military force, have decided thatμανία τιςis the (...) trouble, and proceed to diagnose with all the confidence of laymen the cause of her madness.Their diagnosis takes the form of an ostensibly straightforward physiological explanation in carefully ordered phrases and employing technical terms. (shrink)

L'article interroge la compréhension du parcours de transsexualisation comme rite de passage, notamment dans sa capacité à rendre compte d'un certain nombre de caractéristiques propres au « changement de sexe » et dans sa manière d'envisager la notion d'identité sexuée.The article examines the understanding of course transsexualisation a rite of passage, especially in its ability to account for a number of characteristics of the "sex change" And in the way consider the notion of sexual identity.

A close reading of the Periplus of the Erythraean Sea (1st century CE), an anonymous captain's manual written in everyday Greek, provides ways of thinking about broader questions concerning the connectedness of the Indian Ocean and the Mediterranean. It is located primarily in the Red Sea, an interstitial zone between the two large seas, and concerns long-distance networks of exchange between South Asia, the Arabian peninsula, the Horn of Africa, Alexandria, and beyond that the Mediterranean. Among the issues to emerge (...) are the linear nature of spatial experience and the means by which commodities are mapped. A goal of the article is to identify ways in which to link the practice and representations of travel. (shrink)

Source: Author: Shima Peimanfard, Mohsen Hanif This essay sets out to study the function of hybridity and mimicry in Jean Rhy’s acclaimed novel Wide Sargasso Sea drawing on Homi K. Bhabha’s theoretical framework in this regard. In this novel, Antoinette emerges as the “Other” who aims to prove herself to the “Centre”. Undergoing extreme sufferings, the heroine wistfully ponders mimicry as an impulse to break out of her mare’s nest and to establish herself within one culture. Indeed, unlike what Bhabha (...) believes mimicry cannot upset the total authority of the “Centre”. Meanwhile, Antoinette used it as a result of her longings for the position of the “Centre” which she is unable to attain because of her hybrid existence. Countering Homi K. Bhabha’s central argument, this essay contends that Antoinette’s mimicry of Englishness fails to fend off the norms of the superior power, but partakes in celebrating the very ideals that Bhabah’s theory is trying to keep at bay. ]]>. (shrink)

Combining time travel with certain kinds of supertask, this paper proposes a novel model for Hell. Temporally-closed spacetimes allow otherwise impossible opportunities for material kinds of damnation and reveal surprising limitations on metaphysical objections to Hell. Prima facie, eternal damnation requires either infinite amounts of time or time for the damned to speed-up arbitrarily. However, spatiotemporally finite ‘time travel’ universes can host unending personal torment for infinitely many physical beings, while keeping fixed finite limits on rates of temporal passage. (...) Such ‘Hilbert's Inferno’ spacetimes suggest neither materialism nor the finitude of time and space need forbid Hell. A material Hell can be spatiotemporally finite yet eternal for its inhabitants. Hilbert's Inferno also sheds light on Hell's location and accessibility, and shows that some spacetimes are intrinsically better suited to punishment than reward. (shrink)

Why did Greek philosophy begin in the sixth century BCE? Why did Indian philosophy begin at about the same time? Why did the earliest philosophy take the form that it did? Why was this form so similar in Greece and India? And how do we explain the differences between them? These questions can only be answered by locating the philosophical intellect within its entire societal context, ignoring neither ritual nor economy. The cities of Greece and northern India were in this (...) period distinctive also by virtue of being pervasively monetised. The metaphysics of both cultures is marked by the projection and the introjection of the abstract, all-pervasive, quasi-omnipotent, impersonal substance embodied in money. And in both cultures this development accompanied the interiorisation of the cosmic rite of passage. (shrink)

We argue that a certain variety of presentist time travel ends up significantly undermining the motivational foundations which lead some, but not all, presentists to their view. We suggest that if presentism is motivated by phenomenology, and part of that phenomenology is that it’s an experiential datum that we experience temporal passage, then the basis for believing presentism is less secure than we might have thought.

Although it is frequently asserted that Greek poleis routinely laid legal claim to marine fisheries or even territorial waters, making them subject to special taxes and regulation, these assertions have little or no foundation in the evidence. For Greek fishermen the sea was freely and openly accessible, a fact that reflects the limited regulatory reach of ancient poleis. This evidence for the legal status of the sea and its fisheries is mirrored by our evidence for the status of marine fishermen, (...) conceived of as comprising distinct communities existing largely outside the legal and social structures of the polis. (shrink)

The article is devoted to the consideration the problem of the phenomenon of an unreliable narration in the British intellectual prose of the second half of the twentieth century. The meaning of the words “narrator”, “unreliable narration” is investigated. The unreliable narration is reviewed based on the example of the novel “Rites of Passage” by Golding. It is noted that the aforementioned work has a vibrant didactic component. It has been found that Golding uses a wide range of (...) narrative techniques. The emphasis is made on the critical analysis by other literary scholars of the novel “Rites of Passage” by Golding. The use of narrative strategies in accordance with the scientific classification by Genette is investigated. The markers of unreliability of the narrators are emphasized. Attention is focused on the fact that a high degree of unreliability is based on the limited knowledge of the heroes, direct participation in the events, a problematic system of values. It is noted that the unreliability of narration in the novel “Rites of Passage” by Golding forces the reader to doubt not only the narrator but oneself. The use of the narrative method in the intellectual prose of the British writer Iris Murdoch is investi-gated. It has been found that the novel “The Black Prince” by Iris Murdock is one of the best examples of an unreliable narration. The genre specifics of the novel are emphasized, which combines the forms of the diary, of the memoir and of the confession. In addition, Murdoch creates a narrative strategy, which combines signs of various forms of “I am the narrator” within the framework of one narrative. In addition, “The Black Prince” is a unique model of modern artistic and philosophical metatext genre formation. (shrink)

The ordinary Latin words for ‘lonian’ are lonicus and lonius. Ovid does not use the former at all, and except for one problematical instance applies the latter only to the Ionian Sea . Copyists, editors, and lexicographers, however, credit him, and him only, with Ioniacus, supposedly attested in two passages of almost identical wording.

Recent studies have used methods designed to obtain a precise quantitative assessment of sexual aggression, but these are based on the presumption of a normative psychological understanding of what the questionnaire items mean to respondents. This article takes a novel approach that is appropriate for analysing the ‘grey zone’ between wanted and unwanted sex as the key to obtaining a deeper understanding of the data on sexual violence. Stenner and Clinch (2013) developed the concept of “liminal hotspots”, which refer to (...) liminal situations in which a rite of passage occurs from one recognised ‘structure’ to another. The article draws on in-depth interviews to examine the optimal and pessimal sexual encounters and contexts participants encounter in their sex lives. The main research question concerns how the boundary between wanted and unwanted sex is constructed. One important finding is that the concept of liminal hotspots can be used effectively to investigate the boundary between wanted and unwanted sex. (shrink)

The aim of the present paper is to show the results of one chapter of my Doctorate thesis about Thasian black-figure pottery as archaeologically contextualized documents, being part of the votive objects offered at female sanctuaries, especially the Artemision of Thassos. This paper is centered on Thassos, an island situated in the Northern Aegean, settled by Greeks from Paros. We focus on the Archaic Period, more specifically on the sixth century BC, the peak of local production. Departing from the archaeological (...) contexts through excavation reports, we analyze significant social and religious connections among votive materials associated with the Thasian black-figure pottery. These connections brought us elements that allowed us to interpret the multiculturalism imbricated within the objects, the mimicry and the innovations in the decoration of this black-figure pottery, as well as the particular demand in quantitative terms of a type of vessel called lekane, an object that was loaded with information and religious and apotropaic meaning. In addition, those same elements also showed us traits that reveal votive practices, judging by the way the pottery was exhibited, and its decorative features, which to date are only attested in Thassos. The research revealed intrinsic relationships linked to the diverse facets of Artemis, from a goddess protecting the rites of passage to the protection of women in childbirth, as seen in the black-figure pottery, amulets and other apotropaic objects. Moreover, it demonstrated that the multiple facets of Artemis, as protector of women, act in many spheres, such the civic-religious space in connection with the oíkos and social order, the possibility of a good childbirth and the social position of women in Thassos from the Archaic period. (shrink)

Located astride the shipping routes linking southern Asia Minor with the coasts of Syria and Palestine and Egypt, the island of Cyprus has always been regarded as a stepping stone of the cultural and economic communications interconnecting different areas of the eastern half of the Mediterranean. Politically this role has been first enhanced during the Hellenistic, Roman and then in the early medieval period when in the seventh century Cyprus acquired an important role as military Byzantine stronghold. Economically, the significance (...) of Cyprus in the passage from the late antiquity to the early middle ages benefitted from its essential role as hub along the eastern tax-spine through which Egypt fed Constantinople and along the long-distance trade-routes based upon the sea-movement of luxury goods. This multifunctional role of Cyprus as a bridge between different regions of the eastern Mediterranean can be further assessed through the analysis of the numismatic material. Here, indeed, the study of the coins and coinage yielded by the archaeological excavations in urban centres like Salamis-Constantia, Paphos-Saranda Kolones, and Kourion should be paired with both the reassessment of the publication of the old Cypriot hoards and stray finds and the recent studies on the so-called Arab-Byzantine coinage found both in Cyprus and in the closer Syria-Palestine region. The examination of this material allows to develop a different interpretative scheme than the one traditionally adopted to interpret the fate of Cyprus after the Muslim raids and the occupation of Syria and Palestine. Cyprus and its cities were still frequented in the passage from late antiquity to the early middle ages, preserving a variable but still traceable degree of monetary economy including Byzantine emissions and Arab specimens, inferring the maintenance of political, commercial and cultural relations between the Byzantine Empire and the Umayyad Caliphate. (shrink)

Although it is frequently asserted that Greek poleis routinely laid legal claim to marine fisheries or even territorial waters, making them subject to special taxes and regulation, these assertions have little or no foundation in the evidence. For Greek fishermen the sea was freely and openly accessible, a fact that reflects the limited regulatory reach of ancient poleis. This evidence for the legal status of the sea and its fisheries is mirrored by our evidence for the status of marine fishermen, (...) conceived of as comprising distinct communities existing largely outside the legal and social structures of the polis. (shrink)

Although it is frequently asserted that Greek poleis routinely laid legal claim to marine fisheries or even territorial waters, making them subject to special taxes and regulation, these assertions have little or no foundation in the evidence. For Greek fishermen the sea was freely and openly accessible, a fact that reflects the limited regulatory reach of ancient poleis. This evidence for the legal status of the sea and its fisheries is mirrored by our evidence for the status of marine fishermen, (...) conceived of as comprising distinct communities existing largely outside the legal and social structures of the polis. (shrink)

This article argues that descriptions of the Black Sea found in the Archaic poets, Herodotus, and later geographers were influenced by commercial itineraries circulated amongst Greek slave traders in the north. Drawing on an epigraphic corpus of twenty-three merchant letters from the region dating between c. 550 and 450 BCE, I contrast the travels of enslaved persons recorded in the documents with stylized descriptions found in literary accounts. This article finds that slaves took a variety of routes into—and out of—slavery, (...) and that fear of enslavement was widely felt even among Greeks. Law courts might have been as important as “barbarian” warfare in ensnaring captives for export, and even slave traders themselves risked enslavement alongside their victims. Reconstructing the travels of individual slaves allows us to pursue a study in the spirit of what Joseph C. Miller has called the “biographical turn” in the study of slavery, privileging the experiences of the enslaved over the accounts of their masters. Although the lands around the distant Black Sea were never the leading source of slaves for Aegean cities, the wealth of primary testimony from the region puts it at the forefront in the history of slavery in ancient Greece. (shrink)

C.B. Macpherson's “Possessive Individualist” reading of Locke is one of the most radical and influential interpretations in the history of exegesis. Despite a substantial critical response over the past five decades, Macpherson's reading remains orthodox in various circles in the humanities generally, particularly in legal studies, and his interpretation of several crucial passages has unwittingly been followed even by his sharpest critics within Lockean scholarship. In order to present the definitive rebuttal to this interpretation, and so finally to lay it (...) to rest, I argue that every one of Macpherson's key pieces of textual evidence can be rejected entirely on its own terms; that is, by reference to no more than its immediate context. In this way I contend that fault of the Possessive Individualist reading lies far deeper than mere cherry-picking of the Lockean corpus, but centrally involves misreading, misplacing and misrepresenting the very parts of Locke's work Macpherson cites as evidence for his reading. (shrink)

This paper tries to trace the roots of the Śaiva Mantramārga concept of innate impurity. Since innate impurity is regarded as one of the three bonds fettering bound individual souls, this paper begins with the Pāśupata and early Śaiva views on these bonds. It examines the Buddhist logician Dharmakīrti’s criticism of the Śaiva idea that initiation removes sin, and discusses the Pāśupata concept of sin-cleansing and two different concepts of innate impurity found in two early Śaiva scriptures: the Sarvajñānottaratantra and (...) Svāyambhuvasūtrasaṃgraha. In search of the roots of these Śaiva conceptions of innate impurity, this paper then goes over some Vedic passages which speak of the removal of sin during the initiatory rite and identify it as the internal impurity. Putting all these points together, this paper concludes arguing that the Śaivas initially saw sin or the unseen force of merits and demerits as innate impurity, but later, under the pressure of criticism, they introduced the idea of innate impurity as a separate abstract substance affecting all souls with its multiple powers. (shrink)

Timeless wisdom on death and dying from the celebrated Stoic philosopher Seneca "It takes an entire lifetime to learn how to die," wrote the Roman Stoic philosopher Seneca. He counseled readers to "study death always," and took his own advice, returning to the subject again and again in all his writings, yet he never treated it in a complete work. How to Die gathers in one volume, for the first time, Seneca's remarkable meditations on death and dying. Edited and translated (...) by James S. Romm, How to Die reveals a provocative thinker and dazzling writer who speaks with a startling frankness about the need to accept death or even, under certain conditions, to seek it out. Seneca believed that life is only a journey toward death and that one must rehearse for death throughout life. Here, he tells us how to practice for death, how to die well, and how to understand the role of a good death in a good life. He stresses the universality of death, its importance as life's final rite of passage, and its ability to liberate us from pain, slavery, or political oppression. Featuring beautifully rendered new translations, How to Die also includes an enlightening introduction, notes, the original Latin texts, and an epilogue presenting Tacitus's description of Seneca's grim suicide. (shrink)

Abstract: We propose a dichotomy between object-entities and meaning-entities. The former are entities such as molecules, cells, organisms, organizations, numbers, shapes, and so forth. The latter are entities such as concepts, propositions, and theories belonging to the realm of logic. Frege distinguished analogously between a ‘realm of reference’ and a ‘realm of sense’, which he presented in some passages as mutually exclusive. This however contradicts his assumption elsewhere that every entity is a referent (even Fregean senses can be referred to (...) by means of suitably constructed expressions). We apply the meaning/object dichotomy to mathematical and fictional entities, and develop a view of mathematical and other abstract objects as the results of certain types of demarcation – as for example the North Sea is the result of demarcations built into naval charts. Such demarcations reflect demarcatory acts, which presuppose complex cognitive and social structures enabling the creation of maps, of theories (of mathematics, of natural science), and of novels. (shrink)