The interrelation of Hermione and Andromache as mapped out physically in theatrical space is the key aspect of the stagecraft of Euripides’ “Andromache”. Its study enhances the understanding of the critical importance of the females’ juxtapositional contrast in the dramatic design of the play. It also alerts us to the intricacies of Euripides’ game with social norm regulating the semantics of extra-theatrical domestic space and of his creative reworking of Andromache’s narrative space in Homer’s epic. Euripides innovates in combining the (...) two heroines’ post-war story and placing them as wife and concubine under the same roof, Neoptolemus’ house. Andromache sits outside the scene-building at the shrine of Thetis; she is excluded from the oikos, as a concubine would be in the reality of fifth-century experience. Hermione, Neoptolemus’ legal wife, dominates inside. By zooming in onto the particularities of movement, action and interaction (with animate and inanimate entities) of these females, this paper offers a detailed decoding of the dynamics of theatrical domestic space in the “Andromache”. (shrink)

An overview is provided of how the concept of the thought experiment has developed and changed for the natural sciences in the course of the 20th century. First, we discuss the existing definitions of the term 'thought experiment' and the origin of the thought experimentation method, identifying it in Greek Presocratics epoch. Second, only in the end of the 19th century showed up the first systematic enquiry on thought experiments by Ernst Mach's work. After the Mach's work, a negative attitude (...) towards thought experiments came in the beginning of the 20th century, which went on until the Thomas Kuhn's and Karl Popper's work on thought experiments. Only from the mid-1980s did thought experiments begin to be considered relevant to scientific enterprise. Finally, we show the existing empirical and 'functional' theories which have developed about the nature and purpose of thought experiments. (shrink)

Zygote cytokinesis produces two symmetric blastomeres, which contain one copy of each parental genome. Contrary to this dogma, we recently discovered that mammalian zygotes can spontaneously segregate entire parental genomes into different blastomeres and coined this novel form of genome segregation heterogoneic division. The molecular mechanisms underlying the emergence of blastomeres with different parental genomes during the first mitotic cycle remain to be elucidated. Here, we speculate on which parental genome asymmetries could provide a mechanistic foundation for these remarkable zygote (...) divisions. In reviewing the field and considering our findings, we revisit the architecture of the first zygotic metaphase by invoking asymmetric interactions between the mitotic spindle and the parental kinetochores. We also speculate on how asynchronous parental cell cycles can be a source of heterogoneic zygote divisions through the formation of parental genome private spindles. (shrink)

The problem of the irreversibility’s origin in thermodynamic processes occupies a distinguished place among many and lasting attempts by researchers to derive irreversibility from molecular-mechanical principles. However, this problem is still open and no universally accepted solution may be given during any course. In this paper, I shall try to show that the examining of Maxwell’s demon thought experiment may provide insight into the difficulties that emerge, looking for this origin because: (i) it is connected with the notion of irreversibility, (...) and (ii) one of its functions is that of the “reversibility objection.” In order to illustrate this point, I study Boltzmann’s approach to the problem of a molecular-mechanical interpretation of irreversibility and I show that an auxiliary assumption (the selected direction of time) is responsible for producing irreversibility. But this result is accordant with the predictions of Maxwell’s demon thought experiment: the assumptions of this kind are not dictated by molecular-mechanical principles but are separate input in the model-systems used. (shrink)

The problem of the irreversibility's origin in thermodynamic processes occupies a distinguished place among many and lasting attempts by researchers to derive irreversibility from molecular-mechanical principles. However, this problem is still open and no universally accepted solution may be given during any course. In this paper, I shall try to show that the examining of Maxwell's demon thought experiment may provide insight into the difficulties that emerge, looking for this origin because: it is connected with the notion of irreversibility, and (...) one of its functions is that of the "reversibility objection." In order to illustrate this point, I study Boltzmann's approach to the problem of a molecular-mechanical interpretation of irreversibility and I show that an auxiliary assumption is responsible for producing irreversibility. But this result is accordant with the predictions of Maxwell's demon thought experiment: the assumptions of this kind are not dictated by molecular-mechanical principles but are separate input in the model-systems used. (shrink)

The American Journal of Bioethics, Volume 12, Issue 1, Page 13-15, January 2012.

Emotion Review, Volume 14, Issue 1, Page 84-95, January 2022. Emotional stimuli such as images, words, or video clips are often used in studies researching emotion. New sets are continuously being published, creating an immense number of available sets and complicating the task for researchers who are looking for suitable stimuli. This paper presents the KAPODI-database of emotional stimuli sets that are freely available or available upon request. Over 45 aspects including over 25 key set characteristics have been extracted and (...) listed for each set. The database facilitates finding of and comparison between individual sets. It currently contains sets published between 1963 and 2020. A searchable online version allows users to select specific set characteristics and to find matching sets accordingly, as well as to add new published sets. (shrink)

Emotion Review, Volume 14, Issue 1, Page 84-95, January 2022. Emotional stimuli such as images, words, or video clips are often used in studies researching emotion. New sets are continuously being published, creating an immense number of available sets and complicating the task for researchers who are looking for suitable stimuli. This paper presents the KAPODI-database of emotional stimuli sets that are freely available or available upon request. Over 45 aspects including over 25 key set characteristics have been extracted and (...) listed for each set. The database facilitates finding of and comparison between individual sets. It currently contains sets published between 1963 and 2020. A searchable online version allows users to select specific set characteristics and to find matching sets accordingly, as well as to add new published sets. (shrink)

Aspásia de Mileto (470?-400?) é uma figura cuja história nos é nebulosa e ao mesmo tempo muito clara. Nebulosa pois, como sugere Marta Andrade (2022, p. 24), trata-se de uma existência, como muitas outras, cuja memória a posteridade raramente se ocupou ou simplesmente esqueceu. Mas também clara pois Aspásia possui uma persona constituída no que chamamos de "tradição". A amante de Péricles. A professora de Sócrates. A esposa de Lísicles. Sua figura é frequentemente resgatada à sombra das figuras masculinas com (...) as quais se envolveu. Em grande medida porque as fontes que a resgatam trazem seu nome à margem, mas também em parte devido a uma postura metodológica que, por vezes, ignora nomes de mulheres. Neste artigo, viso recorrer às fontes para trazer à tona o protagonismo de Aspásia no que tange à educação e seu pioneirismo no pensamento retórico. Na primeira seção, desenvolverei uma breve biografia de Aspásia, sua possível influência política e suas habilidades pedagógicas. Na segunda seção, tratarei especialmente de suas contribuições para a retórica, abordando o discurso atribuído a si no Menêxeno de Platão e a Oração Fúnebre atribuída a Péricles por Tucídides. Por fim, na conclusão, diante das teses desenvolvidas, chegaremos a uma imagem mais digna de Aspásia, vislumbrando o retrato de uma mulher que dirige um elogio à coragem e cuja opinião incide diretamente em seu corpo social e político. Desse modo, compreenderemos melhor seus avanços nos âmbitos pedagógicos e retóricos, tidos como cruciais para o desenvolvimento dos cidadãos gregos. (shrink)

Like Socrates, Aspasia did not leave any writings. We know about her from secondary sources. In this paper, I will show a number of things in the reports of what Aspasia said and did that are philosophically interesting, especially in what they show about dealing with various kinds of crises, from marital to political ones. First, I will argue for the most probable reconstruction of her life. Second, I will elucidate what kind of method Aspasia employed when (...) considering marital issues. Third, I will endeavor to prove that Plato’s representation of Aspasia was not a mockery, as some authors argue. Furthermore, the most significant philosophical points of Aspasia’s Funeral Speech will be highlighted and assessed. Eventually, I will attempt to figure out what Plato’s reasons might have been to ascribe this speech to a woman. (shrink)

The brilliant Aspasia owes her fame to two men. She was the beloved and revered companion of Pericles, the most powerful and prestigious Athenian of the city’s golden age (460–430 BCE), and the privileged and respected interlocutor of Socrates. Her position as a valued companion and recognised intellectual—exceptional in a city where custom dictated that silence and invisibility represented a woman’s greatest glory—was no doubt connected with her status as a metic (resident alien). This status, while denying her the (...) right to become the legal spouse of the man whose life she shared, allowed her—at the risk of a somewhat sulphurous reputation—the freedom to be seen, to think, and to express herself. While the beautiful woman from Miletus has remained silent, if we assume that the insults she was showered with were essentially aimed at her lover, the leader of the democrats, the sources we have at our disposal allow us to study her relationships with Socrates and Pericles. (shrink)

Na presente investigação, contrapondo o Sócrates de Platão com a figura de Sócrates que emerge a partir dos textos e da doxografia referente aos socráticos, apresento duas hipóteses sobre quem foi a mestra erótica de Sócrates. De um lado, a hipótese doxográfica geral dos socráticos que apontam Aspásia como sua mestra erótica, uma vez que Ésquines e Xenofonte, discípulos de Sócrates, bem como outros filósofos e doxógrafos posteriores à época clássica (Alciphron, Ateneu, Cícero, Filóstrato, Luciano, Máximo de Tiro, Plutarco, Sinésio, (...) Victorino), retratam Aspásia como a mestra de Sócrates nas artes eróticas. De outro lado, a inovação platônica que apresenta Diotima como a verdadeira guia erótica de Sócrates. Busco demonstrar a importância da sacerdotisa de Mantineia no Banquete, já que Diotima está associada diretamente a novidade platônica do éros filosófico. Na sequência, indico os possíveis motivos desse deslocamento (substituir Aspásia por Diotima como figura central do éros filosófico e guia erótica de Sócrates) realizado por Platão, com enfoque em como estes motivos vinculam-se a aspectos essenciais das novidades eróticas propostas por Platão. Por fim, questiono se esta estratégia platônica, que limita a sabedoria de Aspásia a só um dos assuntos pelos quais era conhecida (retórica), não seria mais uma das camuflagens que a filosofia fez com as heranças sofísticas, em especial, das feitiçarias retórico-eróticas aspasianas que influenciaram profundamente o socratismo. (shrink)

This paper focuses on the figure and the role of Aspasia in Aeschines’ eponymous dialogue, with special regard to the Milesian’s ‘paideutic’ activity and the double bond connecting it to Socrates’ teaching, namely the elenctic method and a particular application of Σωκρατικὸς ἔρως. The study aims to highlight some crucial traits of Aeschines’ Aspasia by examining three key texts, all numbered among the testimonies on the Aspasia: Cicero’s account in De inventione 1.31.51-53 and two fundamental passages from (...) Xenophon’s Memorabilia and Oeconomicus. After analysing a set of ancient sources which repeatedly mention the close and personal association between Socrates and Aspasia, I will try to reconstruct the dialogical context of Xenophon’s testimonies and to combine them with Cicero’s account. My final aim is to clarify the role of Aspasia in Aeschines’ presentation of the Socratic theory of ἔρως. In pursuing this main objective, in the concluding section I will address two further issues: Aspasia’s connection with the figure of Diotima, as depicted in the same ancient sources and the relationship between Aspasias’ pedagogical use of ἔρως and that made by Socrates in the Alcibiades. (shrink)

This paper argues that there were women involved with philosophy on a fairly constant basis throughout Greek antiquity. It does so by tracing the lives and where extant the writings of these women. However, since the sources, both ancient and modern, from which we derive our knowledge about these women are so sexist and easily distort our view of these women and their accomplishments, the paper also discusses the manner in which their histories come down to us as well as (...) the histories themselves. It discusses in detail the following women: the Pythagorean women philosophers of the 6th and 5th centuries B.C., Aspasia and Diotima of the 5th century B.C., Arete, Hipparchia, Pamphile and the women Epicureans-all from the 4th century B.C. the five logician daughters of a famous Stoic philosopher of the 3rd century B.C., and finally Hypatia who lived in the 4th century A.D. (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Parody in Plato's MenexenusFranco V. TrivignoIn Plato's Menexenus, Socrates spends nearly the entire dialogue reciting an epitaphios logos, or funeral oration, that he claims was taught to him by Aspasia, Pericles' mistress. Three difficulties confront the interpreter of this dialogue. First, commentators have puzzled over how to understand the intention of Socrates' funeral oration (see Clavaud 1980, 17–77).1 Some insist that it is parodic, performing (...) an essentially critical function (e.g., Loraux 1986); while others claim that it is serious, in particular as an expression of Plato's political ideal (e.g., Kahn 1963).2 Adherents on both sides seem to think that the options are mutually exclusive.3 Second, commentators have had difficulty understanding why Plato would have Socrates attribute his entire oration to Aspasia (e.g., Coventry 1989, 3; Pownall 2004, 60). Most agree that this move is ironic and that it has something to do with the alleged target of the dialogue's criticism. But scholars have differed over whether the Aspasia reference is meant to implicate Pericles' funeral oration (Monoson 1998), rhetoric in general (Pownall 2004), Athens (Loraux 1986), or even Aeschines (Clavaud 1980).4 Third, scholars have struggled to make sense of the dialogue's "deliberate and fantastic anachronism" (Dodds 1990, 24). In the funeral oration, Socrates relates the history of Athens up to the King's Peace in 386 B.C., a full thirteen years after he has died. This problem has generated the least consensus, with some scholars restricting their analysis [End Page 29] to dating considerations (e.g., Dodds 1990) and at least one speculating that Socrates speaks in this dialogue as a ghost (Rosenstock 1994).5It is the contention of this article that, by understanding the rhetoric of parody in the Menexenus, one can resolve these difficulties and come to a coherent and unified understanding of the philosophical intentions of the dialogue.6 More specifically, I will show that the anachronism is a consequence of a particular parodic strategy, that of amplification; that the dialogue's parody targets not only Pericles' funeral oration in particular but funeral oratory, rhetoric, and Athens as well; and that the parody has serious philosophical implications.7 Further, I claim that the serious philosophical content is both critical and constructive. Plato subverts the civic identity and understanding of virtue encouraged by the genre of funeral oration, and he challenges its praise-based model of political discourse. At the same time, Plato's parodic criticism is not entirely negative, for it relies on alternative paradigms of civic identity, virtue, and political discourse.I. The Rhetoric of ParodyBefore turning to the Menexenus itself, I want to clarify what I mean by parody. For a working definition, I suggest that parody is "an imitation that distorts a target text, author, or genre."8 In order to make some general observations about the rhetoric of parody, I will look briefly at an exemplar of parody from Aristophanes' Frogs. I do so for three reasons: to display two strategies of parodic distortion, to show that parody can have multiple targets, and to argue that parody can have both serious and complex intentions.9In the Frogs (1331–63), Aristophanes uses at least two techniques of parodic distortion, inversion and amplification, in his extended parody of Euripides' monodies or single-actor odes.10 Parodic inversion, broadly speaking, upsets or overturns the target text by distorting the original in a way that reverses the stylistic effect or semantic intention. Parodic amplification hones in on one aspect of the target text and amplifies it to absurdity, often exposing its artificiality as a literary trope.The parodic scene features a woman who awakens, hysterical and terrified, from a god-sent dream, which has conveyed disturbing news. We find in this passage a particular kind of parodic inversion: bathos, the unexpected introduction of the vulgar, ordinary, or mundane, which undermines an otherwise somber tone.11 Consider the following excerpt:Attendants, set alight a lamp for me,Collect the dew of rivers in pitchers [End Page 30] And heat the water,So that I may wash away the god-sent dream.Oh god of the sea... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 298-302 [Access article in PDF] Book Review Rhetoric Retold: Regendering the Tradition from Antiquity Through the Renaissance Rhetoric Retold: Regendering the Tradition from Antiquity Through the Renaissance. Cheryl Glenn. Carbondale and Edwardsville, IL: Southern Illinois UP, 1997. Pp. xii + 235. $19.95 paperback; $49.95 hardback. The past decade has produced a number of collections on women and rhetoric, women in rhetoric, and feminist approaches (...) to rhetoric. Reviewers of these collections have commended their contributions as pioneering works [End Page 298] in a new field while calling for book-length studies offering sustained appraisals of individual women figures and theoretical bases for approaching individual women and rhetorical issues, which must be approached differently if women and feminist issues are to be incorporated into the study of rhetoric. Ethos and audience, intention and identification, agonistic argumentation and collective narrative modes of argumentation--each of these takes on new shadings and nuances when women's practices are examined, and when various feminist theories are employed to assess those practices.Glenn's study is a welcome newcomer, a sustained analysis of rhetorical issues across periods, an analysis developed by spotlighting a series of women figures. Very deliberately, Glenn includes "heroic" figures such as Aspasia and Elizabeth I alongside their "lesser" sisters: the marginalized, until now unheard, and often uneducated women who developed rhetorics within severe restraints. The exposition illuminates a number of points in current feminist theory that are shaping rhetorical studies. Some may fault the selections in Glenn's study, and the inevitable omissions, and some may object that focusing on women's silence is yet another victim narrative. Careful readers, however, will find that the discussion of silence in women's rhetoric deftly reverses the traditional negative connotations: "Silence is perhaps the most undervalued and under-understood traditionally feminine rhetorical site" (175). Silence need not be read simply as "passivity. Silence may take many forms and serve many functions" (176), including "enlightened presence" (177).In "Cartographies of Silence" (The Dream of the Common Language, New York: Norton, 1978), Adrienne Rich writes, Silence can be a plan rigorously executed the blueprint to a life Do not confuse it with any kind of absence. (17) Rhetoric Retold begins and concludes by "mapping the silences" of women's presence in the history of rhetoric, and in the very conception of rhetoric. Like Rich, Glenn defines the subtle complexities of silence and absence: silence can indeed be a plan, rigorously executed. We should not confuse it with any kind of absence. Until recently, most histories of rhetoric have not given much attention to women as individual figures or as practitioners [End Page 299] of distinct rhetorical genres. Quite to the contrary, many histories have simply asserted, without proof or evidence, that women have always been forbidden to study or practice rhetoric. Strong assertions of absence belie the truth intimated by Democritus's rebuke: "A woman must not practice argument. This is dreadful. To be ruled by a woman is the ultimate outrage for a man" (Ancilla to the PreSocratic Philosophers, trans. Kathleen Freeman, Cambridge, MA: Harvard UP, 1983, 103). Glenn's double starting point is the question, who left them out, and why? Their absence from our histories has been one among many sources of their silence. The historiographical discussion happily avoids simple charges of phallocentrism and misogyny and instead looks at how entire systems of culture, within different periods, constructed women's roles and voices. Deep background detail within each historical section provides a welcome context for thinking through complex questions of what is rhetorical among the many women's discourses presented for consideration.Although Glenn's study does not dwell on this point, some of the fault for the omission of women from histories of rhetoric, and evidence of the rigorous deliberateness of that omission, can be found in the robust maleness of eighteenth- and nineteenth-century classical philology, and the neoclassical educational systems it underwrote. The quip in Pope's "Epistle 2: To a Lady" of The Moral Essay, "Nothing so true as once you [Martha... (shrink)

Este artículo se propone examinar la caracterización ficcional de la mujer filósofa durante el siglo XVIII, concentrándose en la novela Histoire de Juliette, ou les prospérités du vice de Donatien Alphonse François de Sade. Sostendremos como hipótesis que las heroínas filósofas de Histoire de Juliette se habrían construido a base de la exaltación de la figura de la hetaira de la Grecia Clásica. Analizaremos dos referencias a las hetairai que aparecen en la obra: la caracterización de Clairwil, una de las (...) tutoras libertinas de Juliette, y la participación de Aspasia, Phryné y Lais como parte del séquito de libertinas de la protagonista de la novela. (shrink)

Resumen: Este artículo se propone examinar la caracterización ficcional de la mujer filósofa durante el siglo XVIII, concentrándose en la novela Histoire de Juliette, ou les prospérités du vice de Donatien Alphonse François de Sade. Sostendremos como hipótesis que las heroínas filósofas de Histoire de Juliette se habrían construido a base de la exaltación de la figura de la hetaira de la Grecia Clásica. Analizaremos dos referencias a las hetairai que aparecen en la obra: la caracterización de Clairwil, una de (...) las tutoras libertinas de Juliette, y la participación de Aspasia, Phryné y Lais como parte del séquito de libertinas de la protagonista de la novela.: This article aims at examining the fictional characterization of women philosophers during the eighteenth century, focusing on Donatien Alphonse François de Sade’s novel, Histoire de Juliette, ou les prospérités du vice. We seek to show that the marquis’s heroines philosophers in Histoire de Juliette are modeled after the figure of the hetaira in Classical Greece. We analyze two sets of references to the hetairai that appear in the aforementioned novel: the description of Clairwil, one of Juliette’s libertine tutors and partners, and the participation of Aspasie, Phryné and Lais in Juliette’s libertine entourage. (shrink)

Alexis de Samos impute à des prostituées athéniennes accompagnatrices de Périclès l’installation d’un culte d’Aphrodite à Samos en 439 av. J.-C. Après analyse du passage et de son contexte, il est proposé qu’Alexis a écrit une œuvre nationaliste, partisane et critique de Périclès et d’Aspasie, et que le sanctuaire a été fondé, sans l’intervention de prostituées, après une victoire navale, en remerciement à Aphrodite, déesse de la navigation en mer.Alexis, the Prostitutes and Aphrodite in Samos. According to Alexis of Samos, (...) Athenian prostitutes founded a cult of Aphrodite in Samos in 439 BC. A reappraisal of the information and its context leads to the hypothesis that Alexis wrote his Samian Chronicles criticising Perikles and Aspasia, and, therefore, that prostitutes were not involved in founding the cult, which was established after a naval victory and in honor of Aphrodite, goddess of seafaring. (shrink)

The aims and approaches of the emergent field of information history are explored in a Socratic dialogue. The philosopher Aspasia and her student Socrates are on their return to Athens from the harbor town of Piraeus when they begin discussing the proper subject of information history. After some deliberation, they come to realize that information history is not about information per se. Instead, information history seeks to provide a historical understanding of the nature of information practices—activities that include collecting, (...) organizing, and preserving, among others. In the end, they conclude that information history is the study of information becoming information. (shrink)

Several influential literary sources connect the attack upon Anaxagoras with attacks upon Phidias, Aspasia and Pericles [relative chronology] and associate these attacks as a whole with the origins of the Peloponnesian war [absolute chronology]. Since the attack upon Phidias pace Philochorus as supported by the evidence of the digging at Olympia has to be dated to 438/7, this absolute chronology cannot be right. The relative chronology, however, can be defended, which entails that the attack upon Anaxagoras by Diopeithes should (...) be dated to 438/7.-First, I shall discuss such data about Anaxagoras' trial as are provided by the biographical tradition, especially Diogenes Laertius, who summarizes a good part of it. Next, I shall discuss the evidence concerned with the attacks upon Pericles and his associates as provided by the historiographical tradition, viz. Diodorus Siculus and Plutarch, both deriving from Ephorus. Philochorus' evidence as to the chronology of Phidias' career will be discussed in connection with the problem of the absolute vs. the relative chronology as a whole. An argument directed against the modern hypothesis that Phidias' statue of Athena was dedicated during the Great Panathenaea of 438/7 follows. In the course of this argument, it will be necessary to have a closer look at the technical, administrative and religious aspects of the installation of such a statue. The Dracontides/Hagnon decree, aimed at Pericles, can be proved to have been associated with the attacks upon Phidias. This, again, combined with considerations derived from the legal responsibilities of the commissioners in charge of the statue, permits us to date the decree to 438/7. The relative chronology of Ephorus and Plutarch will be defended by an argument purporting to show that the attacks upon Pericles and his associates are inextricably bound up with one another, which allows us to date the Diopeithes decree, too, to 438/7. Next, I shall argue that the trial of Anaxagoras is a historical fact, and that it should probably be dated to 437/6. Finally, the tradition about Anaxagoras' sojourn at Lampsacus will be studied, and a chronology of his career as a whole will be proposed. (shrink)

Plato’s Menexenus is a persistent puzzle for interpreters, in the main because of its obscurity of purpose and apparent lack of philosophical matter. This article argues that, while no doubt an elusive piece, it can be counted quite definitely a sdialogue of philosophical import, as well as one of its author’s most subtly accomplished works. The article focuses on two portions of Aspasia’s oration—the account of the earliest Athenians and the exhortation to the living in the voice of the (...) dead—to demonstrate the radical nature of the speech. Close attention to its subtle internal dynamic reveals not only the range of philosophical themes touched upon, but also its outrageous aspects and the strength of its indictment of the Athenian democracy. The article also affirms the consistency of this critique with Plato’s reservations regarding that regime as expressed with most force and clarity in Republic and Gorgias. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.3 (2000) 294-298 [Access article in PDF] Book Review Reclaiming Rhetorica: Women in the Rhetorical Tradition Listening to Their Voices: The Rhetorical Activities of Historical Women The Changing Tradition: Women in the History of Rhetoric Reclaiming Rhetorica: Women in the Rhetorical Tradition. Ed. Andrea A. Lunsford. Pittsburgh Series in Composition, Literacy, and Culture. Pittsburgh: U of Pittsburgh P, 1995. Pp. xiv + 354. $22.95 paperback; $59.95 (...) cloth. Listening to Their Voices: The Rhetorical Activities of Historical Women. Ed. Molly Meijer Wertheimer. University of South Carolina Series in Rhetoric/Communication. Columbia, SC: U of South Carolina P, 1997. Pp. xii + 408. NP. The Changing Tradition: Women in the History of Rhetoric. Ed. Christine Mason Sutherland and Rebecca Sutcliffe. Calgary, Alberta: U of Calgary P, 1999. Pp. 279. NP. These three books, all published within the last five years, are both reflections of and important contributions to the growing scholarship on women's roles in rhetorical history as theorists and as practitioners. Indeed, the titles listed in chronological order--Reclaiming Rhetorica, Listening to Their Voices, and The Changing Tradition--suggest the process of transformation that the study of rhetorical history has undergone in recent years. Both individually and together, these works are a healthful antidote to the rhetorical history most of us learned at our (male) professors' knees.The books share certain features. As edited volumes, they span rhetorical history, from its classical roots to modern feminist theories. Although some figures appear more than once in different volumes (e.g., Aspasia and Mary Astell), the constraints of brief chapters permit us only tantalizing glimpses of each woman and her activities. Like all edited collections, these books include a variety of viewpoints and voices. Despite the disparity that is inevitable in a collection of essays, the quality of the work in these volumes is uniformly high. The editors of all three collections have done a nice job of assuring that the contributors stay to the point and write well without sacrificing scholarly precision. For those seeking a simple history or detailed analysis of any particular figure or time, these books will not suffice. But for most readers who are unfamiliar with the full range [End Page 294] of women in rhetorical history, this reader among them, these volumes provide a delightful introduction to the resilience, creativity, and significance of women in our formerly unacknowledged rhetorical past.In her introduction to Reclaiming Rhetorica, Andrea Lunsford shares the intriguing history of the volume, which explains its eclecticism and its goals. Approached by students who wanted to explore the role of women in rhetorical history, Annette Kolodny offered a two-semester graduate seminar titled "Women Rhetoricians." For the class, the students did extensive archival recovery research, much of which is included in the published volume. Interestingly, the students were the ones who persisted in trying to bring their works, plus the other contributors' efforts, to publication. The resultant book is, then, as James J. Murphy says in his foreword, "not a history of women rhetoricians, or women orators, or women writers. It is, instead, a glimmer of possibilities, an array of glances,--an enthymeme."The essays range widely in time covered and in focus. For example, the first chapter is a consideration of Aspasia, who left no written record of her own. Her accomplishments and influence must, then, be constructed from references to her in the works of others. The authors, Susan Jarratt and Rory Ong, contend that both her gender and her non-Athenian roots played a role in the suppression of her memory. Returning to the theme of "dangerous femininity," the concluding chapter explores the work of a modern theorist, Julia Kristeva. In that chapter, Suzanne Clark demonstrates how Kristeva has challenged traditional notions of rhetoric and provides dialogism as an antidote to the constraints of earlier approaches to human interaction. The chapters between these two take a variety of directions. Mary Wollstonecraft's feminist dialogics stands alongside of the autobiographical The... (shrink)

Book review of Katerina Kolozova's Cut of the Real Subjectivity in Poststructuralist Philosophy, Columbia University Press.