The world appears to conscious creatures in terms of experienced sensory qualities, but science doesn't find sensory experience in that world, only physical objects and properties. I argue that the failure to locate consciousness in the world is a function of our necessarily representational relation to reality as knowers: we won't discover the terms in which reality is represented by us in the world as it appears in those terms. Qualia -- arguably a type of representational content -- will therefore (...) not be found in the physical world as characterized in experience or science. Instead, consciousness constitutes a subjective, representational reality for cognitive systems such as ourselves, and the physical world is a represented objective reality. I suggest that naturalistic approaches to explaining consciousness should acknowledge the non-objectivity of experience, and be constrained by evidence that consciousness accompanies certain sorts of behaviour-controlling representational functions carried out by complex, physically instantiated mind-systems. I evaluate a variety of current hypotheses about consciousness, and suggest that a mature science of representation may help explain why, perhaps as matter of representational necessity, experience arises as a natural but not objectively discoverable phenomenon. (shrink)

This essay offers a theoretical analysis of the changes which are taking place in the musical consciousness of listeners in the present phase of society. The author seeks rather to deduce the conditions of musical reception from the present stage of musical production. The first part of the article deals with changes in production as they affect the general consciousness of listeners. Light music is discussed as well as serious music insofar as it reaches the consumer. Changes in reception are (...) revealed in certain characteristics like the cult of the melody, of the voice, of the master violin, and they are tied up with specific economic concepts. Success plays a particularly important role in this connection.The second part is devoted to the retrogression in listening, analyzed psychologically. Docile passivity, imitation of pre-given patterns, and bitter resentment of the „abnormal“ have become characteristic for the listener. The author shows how this retrogression has become concretized in the formation of a „musical child’s language.“Many listeners seek to overcome passivity by a pseudo-activity. The social function of certain types like the jitter-bug, the radio amateur, or the man with a knack for jazz, are discussed.L’article entreprend d’interpréter sous forme d’une esquisse théorique les transformations qu’a subies la conscience musicale des auditeurs dans la phase actuelle de l’évolution sociale.On n’analyse pas psychologiquement les réactions des auditeurs ; mais on prend pour point de départ Tétât de la production, et de celui-ci on déduit celui de la réception.La première partie traite de la transformation de la production dans la mesure où celle-ci atteint la conscience commune des auditeurs. L’auteur considère aussi bien la musique légère que la soi-disant musique sérieuse et les modifications que connaît celle-ci pour parvenir à la consommation.Ces modifications font de la musique un fétiche. On en prend pour exemple le culte des „idées“ musicales, de la voix et des „violons de maître“. Le caractère fétiche de la musique se mesure au succès accumulé.Ensuite, on développe quelques catégories du fétichisme musical : dépravation, arrangement, „divertissement élevé“, idolâtrie de la perfection.Au fétichisme de la musique correspond du côté de l’auditeur une régression de la faculté d’entendre — phénomène qui fait l’objet de la deuxième partie de l’étude. On l’interprète comme l’attitude auditive caractéristique des „régressifs“. Soumission passive, imitation de l’antérieurement donné, fureur contre ce qui sort de la norme — définissent cette attitude, qui s’objective en un langage musical puéril en formation et dont quelques éléments sont esquissés.A cette passivité, de larges groupes d’auditeurs cherchent vainement à échapper par une pseudo-activité. Quelques types de pseudo-activité sont décrits : l’enthousiaste, le bricoleur et le „chic type“. On montre la fonction sociale de ces types.Enfin, on traite des possibilités dialectiques de l’audition du régressif. Une confrontation de l’expérience fondamentale de la musique radicalement neuve avec le mode régressif d’entendre termine l’article. (shrink)

Enough and too much has been written about the Epic Cycle. Upon scanty quotations and a jejune epitome a tedious literature has been built. The older writers, such as Welcker, tried to ‘reconstruct’—as profitable and satisfying a task as inferring a burnt manor-house from its cellars; later scholars have gone out in tracing the tradition of the poems through the learned age of Greece—a scaffolding without ties, by which this or that conclusion is reached according to temperamental disposition to this (...) or that fallacy. I do not intend to enter more than is needful into a controversy where so far as I can see everyone has gone beyond the evidence. If I add to the bulk of the literature, it is in the hope of putting things in their proper places and of presenting the data as they appear to a future editor. (shrink)

I. Homeric Hymn to Apollo 334: κκλντε νν μοι γαα κα ορανòσ ερσ περθεν, TιτǴνεσ τε θεοιí π χθον ναιετοντεσ τρταρον μφ μγαν, τν ξ νδρεσ τε θεο τε.

As the apparent variant is in the text, Ludvvich alters the scholion into, which has not been found in any MS. so far. The only noticeable point prima facie about is that it is an. Therefore I would read. Ludwich's index to his A.H.T. gives cases of the omission of ov or OVK in the scholia. We need not restrict There is too much tendency to restrict usage in matters of language. At one time it was believed that μ⋯ποτε was (...) the property of Didymus! ‘passage’ does not occur in the scholia we possess, τόπος however does. Compare the note on H 96⋯ν ἄλλῳ ὑβριτα⋯. We must supply in sense χωρ⋯ῳ, for the reference is to Callim. Del. 69, where this is the meaning of ⋯πειλητ⋯ρες. (shrink)

A new edition of the Homeric Hymns is in preparation by Mr. W. R. Halliday, Principal of King's College, London, and myself. In the meantime there are some passages in the Hymn to Hermes which call for longer treatment than would be natural in an edition. Some of these notes are suggested by the substantial and valuable edition of Professor L. Radermacher.

A new edition of the Homeric Hymns is in preparation by Mr. W. R. Halliday, Principal of King's College, London, and myself. In the meantime there are some passages in the Hymn to Hermes which call for longer treatment than would be natural in an edition. Some of these notes are suggested by the substantial and valuable edition of Professor L. Radermacher.

The article consists of four chapters taken from a comprehensive study on Wagner.The first chapter discusses the character of the man Wagner. The author undertakes a social analysis which reveals Wagner to be a bourgeois figure who is no longer able to fulfill the monadological claims of bourgeois society, and who actually deserts to the ruling powers while seemingly in conflict with the society of his day. This analysis is made particularly clear through a study of Wagner's anti-Semitism.The following sections, (...) only excerpts of which appear in the present essay, study the relationship between Wagner’s social character and the technical structure of his works, using concepts such as the conductor- composer and the,,gestural type“ of composition. This approach involves minute analyses of certain essential elements of Wagner's technique : the leitmotif, the infinite („unendliche“) melody, his harmonization and scoring.From the principle of Wagner's instrumentation the author derives the concept of phantasmagoria, which is the subject of the sixth chapter of the larger wrork (reprinted here). Phantasmagoria is defined as the aesthetic phenomenon that tends to hide the mode of its genesis and to appear as „nature“.The seventh and eighth chapters have not been included. They deal with the notion of the music drama as the phantasmagoric form, developed primarily from Wagner's theoretical writings, and with the mythical element in his work. The mythical in Wagner is two-sided, for it seeks to interpret the unconscious and in turn to dissolve the real into the unconscious.The two final chapters are devoted to the philosophy inherent in the works of Wagner and to a philosophical interpretation of his work. Chapter nine discusses the Ring from the standpoint of the betrayal of the revolution by the „rebel“. The canon is given by analysis of Wotan as the unity of Impotent old god and beggar. Chapter ten describes Wagner's pessimism. It shows the fundamental difference between Wagner and Schopenhauer, analyzes the Wagnerian concept of the nil as that of the chimaerical, and concludes by „rescuing“ his nihilism as the form adopted by Utopia in the early period of bourgeois decay.L'article se compose de quatre chapitres extraits d’un vaste travail consacré à Richard Wagner.Le premier chapitre étudie la personnalité de Wagner : son caractère est défini comme étant celui du bourgeois désormais incapable de répondre aux exigences monadologiques de la société bourgeoise. L’apparence d’un conflit avec la société masque la soumission de fait aux puissances établies : c’est ce qui est étudié de près dans l’analyse de l’antisémitisme wagnérien.Les chapitres suivants, desquels la présente publication n’offre que des extraits, établissent d’abord — grâce aux concepts du chef d’orchestre et du mode „gestique“ de la composition — le rapport entre le caractère social de Wagner et la complexité technique de son oeuvre. Viennent ensuite des analyses détaillées de quelques éléments essentiels du mode wagnérien de composition, tels que la technique du leitmotiv, de la mélodie infinie, de l’harmonique et de l’instrumentation.Le concept de la fantasmagorie est déduit du principe de l’instrumentation wagnérienne : voilà le thème central du sixième chapitre que notre texte présente, de nouveau, intégralement. La fantasmagorie est définie comme le phénomène esthétique qui renie le mode de sa production.Les chapitres VII et VIII encore, manquent dans la présente publication. Ils traitent du concept du drame musical en tant que forme fantasmagorique. Ce sont surtout les écrits théoriques de Wagner qui servent à développer ce concept. On en vient à examiner l’élément mythique de l’oeuvre wagnérienne — élément équivoque en ce qu’il tend à interpréter l’inconscient en même temps qu’il voudrait le dissoudre dans un inconscient plus profond encore.Les deux derniers chapitres étudient la philosophie inhérente de Wagner, et tâchent de donner une interprétation philosophique de son oeuvre. Le neuvième chapitre donne une analyse du „Ring“ — la trahison de la révolution par le „rebelle“. Le „canon“ du raisonnement est, ici, la figure de Wotan — à la fois vieux dieu rendu impuissant et mendiant. Le chapitre X décrit le pessimisme wagnérien. Il expose la différence fondamentale entre Wagner et Schopenhauer, la reconstruction méthodique du concept wagnérien du néant montre que ce néant est chimérique. La conclusion est, en quelque sorte, une réhabilitation du nihilisme wagnérien en ce que ce nihilisme fut la forme que revêtit l’utopie au début de la décadence bourgeoise. (shrink)

This paper is an attempt to elucidate the senses in which this place-name is used in Homer; to assign meanings to the Homeric terms Achaean, Iason and Pelasgic Arge, to ‘Argive’ as a synonym for Greek, and to establish the nature of the Argos over which Agamemnon ruled. I take the Homeric poems as the unity which they profess to be, and which they must be for historical enquiry. Whatever liberties Homer took with his materials it is plain he was (...) careful to respect events. The effort to distinguish between old and new in the Iliad and Odyssey has caused needless and fruitless encumbrance to the official historians, such as Busolt; the Unitarian position has given us the remarkable results of Professor Myres' . The consistency of Mr. Myres' account, and I venture to hope of mine, allows a fresh inference back to the homogeneity of the poems which are their source. (shrink)

It is usual, since Wolf, to print πέλει in 396 instead of ποτί. The authority for this is very slight: E. M. 214. 33 from Diogenes βρόμος κυρίως το πυρς. ᾒχος. πεποιημένη δέ στιν ων κατ μμησιν το ποτελουµνου ψόφου ν πυρ, οον τσος γε πέλει βρόμος αθοµνοιο. schol. Ap. Rhod. III. 861 the etymology of Bx03B1;θριµώ … ἢ παρ το βρµον το πυρός. τσσος γρ πλεται βρµος γρ θες λαµπαδοΧος. It is not certain that either of these quotations refer (...) to our line; in the former, as will be noticed, πυρς is out of place, and we cannot tell how the second would have continued. In any case, it is not obvious what turned such an easy word as πλει into the difficult ποτ. (shrink)

Testimony, even in the well-worked parts of antiquity, continues to accrue, some from new papyri, some from texts long known but overlooked. In the result the critic is discomfited, honest men come by their own. οιόνδ' πέβη τόδε πργμα. This document, which consists of two lives of Homer and the Agon inserted between them, has long been derived from the Μουσεîον of Alcidamas. The conjecture was contested and the survival of Alcidamas denied. The publication of twenty-five lines from a papyrus (...) of s. II.–III. p. C. by Professor J. G. Winter, containing a Homeric biography signed αλκι] δαμαντος περι ομηρου put an end to the matter. See on the whole question Mr. Winter's remarks and a paper by Sig. Carlo Gallavotti of Bologna, Rivista di Filologia, 1929, 31. (shrink)

Testimony, even in the well-worked parts of antiquity, continues to accrue, some from new papyri, some from texts long known but overlooked. In the result the critic is discomfited, honest men come by their own. οιόνδ' πέβη τόδε πργμα. This document, which consists of two lives of Homer and the Agon inserted between them, has long been derived from the Μουσεîον of Alcidamas. The conjecture was contested and the survival of Alcidamas denied. The publication of twenty-five lines from a papyrus (...) of s. II.–III. p. C. by Professor J. G. Winter , containing a Homeric biography signed αλκι] δαμαντος περι ομηρου put an end to the matter. See on the whole question Mr. Winter's remarks and a paper by Sig. Carlo Gallavotti of Bologna, Rivista di Filologia, 1929, 31. (shrink)

The least attentive Hellenist must have noticed that the Greek tongue contains a number of pairs of nouns of identical or nearly related meaning—one in the masculine, the other in the feminine. The subject attracted the notice of Lobeck, Pathoiogia, pp. 7 sq., Technologia, pp. 267 sq.; G. Meyer in Curtius' Studien V., p. 68; Stein in the introduction to his Herodotus, p. lx ; and the resultant list will be found in Kuhner-Blass I., pp. 501, 502. It is not (...) complete , and the question deserves investigation. The only doctrine that can be called such appears to be the remark in schol. BT on Σ 551 , δρεπανας] Iωνκως, οủτο αρ τρεπουσ πάντα είς τφρη, ταρη αστρααλη. (shrink)

The least attentive Hellenist must have noticed that the Greek tongue contains a number of pairs of nouns of identical or nearly related meaning—one in the masculine, the other in the feminine. The subject attracted the notice of Lobeck, Pathoiogia, pp. 7 sq., Technologia, pp. 267 sq.; G. Meyer in Curtius' Studien V., p. 68; Stein in the introduction to his Herodotus, p. lx ; and the resultant list will be found in Kuhner-Blass I., pp. 501, 502. It is not (...) complete, and the question deserves investigation. The only doctrine that can be called such appears to be the remark in schol. BT on Σ 551, δρεπανας] Iωνκως, οủτο αρ τρεπουσ πάντα είς τφρη, ταρη αστρααλη. (shrink)

οδ γρ εδεης νδρ νον οδ γυναι πρν πειρηθεης σπερ ποζγου, οδ κεν εκσσαις σπερ ποτ’ ς ριον λθν. πολλκι γνμην ξαπατσ’ δαι. ς ριον A, σριον the rest.