Horace C. 2.4 is an ironical address to Xanthias, who, it appears, is rather ashamed of his love for Phyllis, a slave-girl. It has long been held that ‘Xanthias’ is a pseudonym, but so far there has been no convincing explanation of why Horace chose that appellation rather than any other. Of course, there is no way of telling if the situation of the ode is real or imaginary, but, whether ‘Xanthias’ is the pseudonym of an actual person or a (...) name given to an invented character, I believe that it does have particular point. (shrink)

The sea of love was one of the more important amatory figures. It featured in both Greek and Latin from earliest until latest times, was employed in several genres of verse , appearing in prose as well, and reached an advanced stage of development in the hands of the Alexandrians and particularly the Augustans. The purpose of this article is to provide the first comprehensive and detailed study of the sea of love from the archaic period until late antiquity.

Horace C. 2.4 is an ironical address to Xanthias , who, it appears, is rather ashamed of his love for Phyllis, a slave-girl. It has long been held that ‘Xanthias’ is a pseudonym, but so far there has been no convincing explanation of why Horace chose that appellation rather than any other. Of course, there is no way of telling if the situation of the ode is real or imaginary, but, whether ‘Xanthias’ is the pseudonym of an actual person or (...) a name given to an invented character, I believe that it does have particular point. (shrink)

Critics generally have not warmed to Heroides 8. Jacobson opined that the poem is ‘not very successful’ and claimed that the lengthy argumentation is ‘rather boring, not to say sometimes silly and annoying’, while Palmer described it as ‘the feeblest and least poetical of all the Heroides’. However, scholars have largely neglected some typically Ovidian cleverness and complexity in kaleidoscopic play with character. Ovid's Hermione is Hermione, but she also takes on the guise of other mythological heroines, and she represents (...) a complete inversion of an earlier depiction of Hermione. All of this gives the poem a distinct intellectual appeal to supplement the emotional impact, with witty touches to ensure that the epistle is not mawkish. (shrink)

Critics comment on the simplicity of the jest here, not without reason.1 But the levity also has some sophistication, of a literary kind. For a start,andare aptly long and are carefully left to the end of their clauses and lines for maximum effect. In addition, these striking words, which appear for the first time in Sappho, may well have been deliberate adaptations of two adjectives which had previously occurred only in Homer,2 and they would in any case have called to (...) mind the Homeric ones, because of their close similarity and because there are no other variants of these compounds in surviving literature down to the time of the j poetess.3 At Odyssey11.312 the poet had said of Otus and Ephialtes and at Iliad 7.220, 222, 245, 266 and 11.545 he had described the shield of Ajax asSo, given the epic flavour of Sappho′s epithets, it was amusing of her to include them at all in such a light and frivolous context. There is also pawkiness in the poetess′s application of these terms I with their Homeric tinge to quite different and very mundane objects; and the humour is increased when one takes into account the associations that these words had .This strikes me as an early instance of witty adaptation of epic diction such as is found in Anacreon 358 and 417 PMG.4. (shrink)

In the past most scholars held that at Odes 1.16. 5–21 Horace is making excuses for his own anger. More recently, however, Commager and Nisbet and Hubbard maintained that in this passage the poet is referring to the addressee's ira and trying to dissuade her from being angry with him. In my opinion both interpretations contain part of the truth, but both fail to grasp the essential point that the passage is in fact yet another instance of an Horatian tease.

There is a major problem in connection with the wrath of Poseidon in Homer's Odyssey. We are told by Homer and Zeus that Poseidon raged continually against the hero from the time that the Cyclops was blinded until Odysseus reached Ithaca; and, when back on Ithaca the man complains to Athena about her absence and lack of help during the whole period of his wanderings after the fall of Troy, she says at 13.341-3 that she was avoiding confrontation with her (...) angry uncle during all that time. But the only specified manifestation of that anger is the storm roused by the sea-god after Odysseus leaves Calypso in Book 5, in the tenth year after Polyphemus’ prayer to his father for revenge. It seems extraordinary that Poseidon should have waited so long before acting against him, and then have attacked him only once, merely causing him difficulty before he reached Scheria, and not ensuring his late return in a miserable plight on another's ship after losing all his companions, as his blinded son had requested. (shrink)

Heroides9 takes the form of a letter sent by Deianira to Hercules as a reinforcement to the tunic smeared with Nessus' blood which she has already dispatched in the mistaken belief that it will revive the hero's love for her. In this epistle she tries to persuade her husband to give up his latest girlfriend by showing him that she loves him, by arousing pity for herself, and by making him feel ashamed of his philandering and see that he thereby (...) disgraces himself. Obviously there is pathos here, particularly as the deaths of Hercules and Deianira loom in the background, but there is also wit, irony, and humour, creating a piquant tonal mixture which has been almost entirely neglected by critics. They have seen the sadness, and some of the irony, but they have not grasped the facetious aspects, whereby our irreverent poet ensures that the piece does not lapse into mawkishness and engages the head as well as the heart. (shrink)

Genetic studies in the social sciences could be augmented through the additional consideration of functional (transcriptome, methylome, metabolome) and/or multimodal genetic data when attempting to understand the genetics of social phenomena. Understanding the biological pathways linking genetics and the environment will allow scientists to better evaluate the functional importance of polygenic scores.

The incredible achievements of modern scientific theories lead most of us to embrace scientific realism: the view that our best theories offer us at least roughly accurate descriptions of otherwise inaccessible parts of the world like genes, atoms, and the big bang. In Exceeding Our Grasp, Stanford argues that careful attention to the history of scientific investigation invites a challenge to this view that is not well represented in contemporary debates about the nature of the scientific enterprise. The historical record (...) of scientific inquiry, Stanford suggests, is characterized by what he calls the problem of unconceived alternatives. Past scientists have routinely failed even to conceive of alternatives to their own theories and lines of theoretical investigation, alternatives that were both well-confirmed by the evidence available at the time and sufficiently serious as to be ultimately accepted by later scientific communities. Stanford supports this claim with a detailed investigation of the mid-to-late 19th century theories of inheritance and generation proposed in turn by Charles Darwin, Francis Galton, and August Weismann. He goes on to argue that this historical pattern strongly suggests that there are equally well-confirmed and scientifically serious alternatives to our own best theories that remain currently unconceived. Moreover, this challenge is more serious than those rooted in either the so-called pessimistic induction or the underdetermination of theories by evidence, in part because existing realist responses to these latter challenges offer no relief from the problem of unconceived alternatives itself. Stanford concludes by investigating what positive account of the spectacularly successful edifice of modern theoretical science remains open to us if we accept that our best scientific theories are powerful conceptual tools for accomplishing our practical goals, but abandon the view that the descriptions of the world around us that they offer are therefore even probably or approximately true. (shrink)

The place of the emotions among the passions -- The analytic of the emotions I -- The analytic of the emotions II -- The dialectic of the emotions -- Pride, arrogance, and humility -- Shame, embarrassment, and guilt -- Envy -- Jealousy -- Anger -- Love -- Friendship -- Sympathy and empathy.

The concept of normal is so familiar that it can be hard to imagine contemporary life without it. Yet the term entered everyday speech only in the mid-twentieth century. Before that, it was solely a scientific term used primarily in medicine to refer to a general state of health and the orderly function of organs. But beginning in the middle of the twentieth century, normal broke out of scientific usage, becoming less precise and coming to mean a balanced condition to (...) be maintained and an ideal to be achieved. In Normality, Peter Cryle and Elizabeth Stephens offer an intellectual and cultural history of what it means to be normal. They explore the history of how communities settle on any one definition of the norm, along the way analyzing a fascinating series of case studies in fields as remote as anatomy, statistics, criminal anthropology, sociology, and eugenics. Cryle and Stephens argue that since the idea of normality is so central to contemporary disability, gender, race, and sexuality studies, scholars in these fields must first have a better understanding of the context for normality. This pioneering book moves beyond binaries to explore for the first time what it does—and doesn’t—mean to be normal. (shrink)

An Interdisciplinary Approach to Cognitive Modelling presents a new approach to cognition that challenges long-held views. It systematically develops a broad-based framework to model cognition, which is mathematically equivalent to the emerging 'quantum-like modelling' of the human mind. The book argues that a satisfactory physical and philosophical basis of such an approach is missing, a particular issue being the application of quantization to the mind for which there is no empirical evidence as yet. In response to this issue, the book (...) adopts a COM (classical optical modelling) approach, broad-based but mathematically equivalent to quantum-like modelling while avoiding its problematic features. It presents a philosophically informed and empirically motivated mathematical model of cognition, mainly concerning decision making processes. It also deals with applications to different areas of the social sciences. It will be of interest to scholars and research students interested in the mathematical modelling of cognition and decision making, and also interdisciplinary researchers interested in broader issues of cognition. (shrink)

This study concerns the ideas of one particular philosopher, Henri Bergson, whose views of time, intuition, and creativity have had a significant impact on art, literature, and the humanities, both in his time and in our own. Although it is generally recognized that Bergson's ideas have significantly impacted the arts and the humanities, it has not been recognized how they have also had a creative influence on the sciences as well. Nor has it been realized that this was one of (...) his most basic contentions. Bergson's conception of intuition--his fundamental insight into reality--was not limited to fugitive insights into human existence. By realizing previously unsuspected possibilities for research and discovery, his endeavors were also meant to make possible new advances in the sciences. If it enabled his cousin by marriage, Marcel Proust, to explore human memory in depth, it also inspired psychologists like Daniel Schachter to use Bergson's ideas to make real contributions to contemporary memory science. If his notion of creative evolution brought many thinkers to a belief in human creative freedom, it brought others (notably Alexis Carrel and Pierre Lecomte de Noüy) to a scientific study of biological time. Among his successful speculations was the theory of the Big Bang cosmology. 'Getting Bergson Straight' shows many points at which Bergson's ideas anticipated future developments in the sciences. This was seen clearly by the Nobel Prize-winning physicist Luis de Broglie who viewed Bergson's physics as presaging quantum physics. Thus, the text is well situated for arts, humanities, social science, and natural science classrooms studying creative thinking and/or intellectual history. (shrink)

Profoundly important ethical and political controversies turn on the question of whether biological life is an essential aspect of a human person, or only an extrinsic instrument. Lee and George argue that human beings are physical, animal organisms - albeit essentially rational and free - and examine the implications of this understanding of human beings for some of the most controversial issues in contemporary ethics and politics. The authors argue that human beings are animal organisms and that their personal identity (...) across time consists in the persistence of the animal organisms they are; they also argue that human beings are essentially rational and free and that there is a radical difference between human beings and other animals; criticize hedonism and hedonistic drug-taking; present detailed defenses of the prolife positions on abortion and euthanasia; and defend the traditional moral position on marriage and sexual acts. (shrink)

Do the ethical features of an artwork bear on its aesthetic value? This movie endorses misogyny, that song is a civil rights anthem, the clay constituting this statue was extracted with underpaid labor—are facts like these the proper bases for aesthetic evaluation? I argue that this debate has suffered from a false presupposition: that if the answer is yes (for at least some such ethical features), such considerations feature as pro tanto contributions to an artwork's overall aesthetic value, i.e., as (...) merits or flaws which make something have more or less overall aesthetic value. As the case of ethically laden, aesthetic evaluation makes clear, however, good aesthetic judgement is irreducibly multi-dimensional, e.g., "the movie has an engaging soundtrack, tasteful camera work, and takes a misogynistically prurient perspective on its female lead.'' Such a "non-summative" judgement refuses to reduce those various dimensions of aesthetic value to a single aggregate aesthetic evaluation, like "it's a 6/10" or "it's a pretty good movie!" I defend both the modest claim that such non-summative evaluations are not mistaken and the extremist claim that summative (i.e., unidimensional) aesthetic evaluation is defective by considering other domains of normative assessment in which summing seems inappropriate, notably including evaluations of people's character. (shrink)

This practical and essential text, co-authored by an engineer and an ethicist, covers ethical dilemmas that any engineer might encounter on the job, emphasizing the responsibility of a practicing engineer to act in an ethical manner. To illustrate the complexities involved, the authors present characters who encounter situations that test the engineering code of ethics. The dialogue between the characters highlights different perspectives of each dilemma. As they proceed through the book, students see how the code of ethics can help (...) in decision making, as well as the implications of various decisions. The philosophical theory that supports the ethical situations encountered is presented as boxed material following each section. Important Notice: Media content referenced within the product description or the product text may not be available in the ebook version. (shrink)

In worlds that lack life, there is no value. For all that, there is no mystery about 'the existence of values in a world of facts'. The world does not consist of facts, rather true descriptions of the world consist of statements of fact. It is as much a fact concerning the world that there are things that are of value to living things, that human beings value things and possess valuable characteristics, perform valuable deeds, stand in valuable relationships to (...) others, as it is a fact that there is life on earth. (shrink)

A critical note on Christopher Bartel and Jack M. C. Kwong, ‘Pluralism, Eliminativism, and the Definition of Art’, Estetika 58 (2021): 100–113. Art pluralism is the view that there is no single, correct account of what art is. Instead, art is understood through a plurality of art concepts and with considerations that are different for particular arts. Although avowed pluralists have retained the word ‘art’ in their discussions, it is natural to ask whether the considerations that motivate pluralism should lead (...) us to abandon art talk altogether; that is, should pluralism lead to eliminativism? This paper addresses arguments both for and against this move. We ultimately argue that pluralism allows one to retain the word ‘art’, if one wants it, but only in a loose, conversational sense. The upshot of pluralism is that talk of art in general cannot be asked to do theoretical and philosophical work. (shrink)

" In a book that seeks to shift the ground of debate within theory of knowledge, William P. Alston finds that the century-lo.