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Prolegomena to the Study of Greek Religion
Abstract
Jane Ellen Harrison (1850-1928) was a pioneer in the academic study of myth in its historical and archaeological context, and was also one of the first women to make a full-time career as an academic. In her introduction to this book (1903), making the point that 'Greek religion' was usually studied using the surviving literary retellings of myths and legends, she states: 'The first preliminary to any scientific understanding of Greek religion is a minute examination of its ritual'. Using the then emerging disciplines of anthropology and ethnology, she demonstrates that the specific mythological tales of the Greeks embody systems of belief or philosophy which are not unique to Greek civilisation but which are widespread among societies both 'primitive' and 'advanced'. Her work was enormously influential not only on subsequent scholars of Greek religion but in the wider fields of literature, anthropology and psychoanalysis.
... A leitura canônica de Jane Ellen Harrison (2012Harrison ( [1903) diz que "in her essence Medusa is a head and nothing more; her potency only begins when her head is severed, and that potency resides in the head" 2 (HARRISON, 2012(HARRISON, [1903, p. 187). De acordo com a releitura tecida neste artigo, digo que a potência de Medusa não reside na cabeça cortada, reside na(s) língua(s), na voz, no riso, no canto, no desejo, no efeito risomático, no chamado que ela convoca: ela transmite uma história, das mulheres, dos exilados, dos brasileiros, dos "silva", dos que pertencem à linhagem daquelas e daqueles que são historicamente violentados. ...
... A leitura canônica de Jane Ellen Harrison (2012Harrison ( [1903) diz que "in her essence Medusa is a head and nothing more; her potency only begins when her head is severed, and that potency resides in the head" 2 (HARRISON, 2012(HARRISON, [1903, p. 187). De acordo com a releitura tecida neste artigo, digo que a potência de Medusa não reside na cabeça cortada, reside na(s) língua(s), na voz, no riso, no canto, no desejo, no efeito risomático, no chamado que ela convoca: ela transmite uma história, das mulheres, dos exilados, dos brasileiros, dos "silva", dos que pertencem à linhagem daquelas e daqueles que são historicamente violentados. ...
... Ela transmite uma aliança, uma linhagem que não se passa pelos heróis. Heróis são feitos para explicar a morte de monstros (HARRISON, 2012(HARRISON, [1903, p. 187). Aqui, mesmo se Medusa fosse um monstro, não seria domável, não estaria a serviço das façanhas dos vencedores. ...
Resumo: Neste artigo, propomos uma releitura do mito da Medusa, com base nos teóricos Italo Calvino, Giorgio Agamben e Hélène Cixous, e nas poetas Tatiana Pequeno e Ana Martins Marques. A partir do deslocamento do ponto de vista como método, com o objetivo de extrair consequências políticas para pensar o nosso tempo, esta proposição aponta para uma nova articulação entre literatura e história, em que a poesia contemporânea brasileira também seja vista, necessariamente, como uma reescrita da história.
... In her romantic-enthusiastic way, Harrison tried to give a voice to the marginalized narratives, daemonic figures, and the dark and "irrational" side of ritual practices in ancient Greek religious history. Her first major work, Prolegomena to the Study of Greek Religion of 1903 (Harrison, 1991), already looked beyond the anthropomorphically formed, beautiful and harmonious Olympian gods and asked about the material knowledge of the "ugly," of monsters, daemons, and spirits. She was moreover concerned with the performative relationship between art and religion, or more precisely with the inner connection of images, emotions, and objects within the ritualistic cultic process. ...
... In Themis from 1912 (1963), she pointedly stated that the Olympians were "non-religious, because really the products of art and literature" (Harrison, 1963, p. xi). In the Prolegomena from 1903, Harrison (1991) explored local Greek cult practices with the help of her new historical-critical method, inspired by Karl Otfried Müller. According to Ackermann (1990), for the conservative majority of Cambridge classicists Harrison's scholarly approach embodied "everything that was wrong with modern life" (p. ...
... 3) Secondo il mito, Dioniso ha dunque origini/nascite sia mortali che immortali: nasce la prima volta da una morte, quella di Semele, sua madre umana (così come il mosto nasce dalla morte della sua generatrice/madre l'uva, secondo il Principio di Simmetria, mentre il Principio di Generalizzazione stabilisce un'analogia metaforica tra le due morti), e la seconda volta dopo un periodo di maturazione in un contenitore immortale, la coscia del padre Zeus, così come il mosto si trasforma in vino dopo un periodo di maturazione nei pithoi -nel dialetto locale: "l' p'toil "-, che, nell'antichità, servivano anche per seppellire i defunti [55]. 4) La rappresentazione della Costellazione di Bootes al suo sorgere eliaco rappresenta quindi, sempre secondo l'azione dei principi sopra menzionati, un'analogia metaforica della rinascita dell'uva in forma di vino dopo la sua morte/trasformazione in mosto, metaforicamente rappresentata dalla seconda nascita di Dioniso, che è resa possibile dalla permanenza nel contenitore rappresentato dalla coscia immortale di Zeus, come il mosto divenuto vino dopo la sua permanenza nei pithoi. ...
Sommario Il presente lavoro si propone di decodificare il significato di una struttura rupestre per la produzione di vino scavata nella roccia nel territorio di Gravina in Puglia (Italia), essendo la stessa profondamente dissimile dalle altre aventi la stessa funzione, presenti nella zona e in altre località italiane. I caratteri distintivi di questa struttura sono stati quindi analizzati utilizzando una metodologia che unisce Semiotica e Psicoanalisi, non essendo possibile decodificare esaustivamente gli stessi secondo un approccio volto a ricostruirne le funzioni secondo i principi della massima efficienza ed efficacia nella produzione del vino. La mitologia si è quindi rivelata come un codice in grado di spiegare le peculiarità della struttura, suggerendo un approccio al paesaggio volto a riconoscere in esso le con-notazioni inconsce che accompagnano i processi di antropomorfizzazione dell'ambiente naturale, conducendo a nuove prospettive sulla ricerca paesaggistica. Aree di Studio Semiotica, psicoanalisi ed antropologia culturale come strumenti di studio e fruizione dei paesaggi culturali Parole Chiave Semiotica del paesaggio, Semiologia psicoanalitica, Complessi Rupestri, Miti, Rituali Agrari 1. Introduzione L'obiettivo di questo studio è integrare i metodi di decodificazione di paesaggi che presentano segni di antropomorfizzazione di epoche diverse, in modo da ricostruirne i significati che non possono essere facilmente colti attraverso una mera valutazione estetica, naturali-stica o storica, essendo gli stessi intrisi di segni prodotti e interpretati dalle popolazioni che li hanno abitati. Si propone quindi lo studio di una peculiare struttura rupestre. Il Complesso rupestre del "Padre Eterno" è ubicato a Gravina in Puglia (Italia), e si estende per circa 1400 metri, a partire dall'angolo Sud-Ovest della fenditura sul cui fondo scorre il torrente Gravina, procedendo verso Ovest, fino all'altro angolo della fenditura, orientato in direzione Nord-Est, da cui si dipana il Complesso rupestre di "Capotenda". Entrambi i com-plessi sono ubicati all'interno dell'habitat rupestre di Gravina in Puglia, di cui il PPTR (Piano Paesaggistico Territoriale Regionale) attualmente vigente nella Regione Puglia ri-conosce significativi valori idrogeologici, naturalistici e culturali nel suo paesaggio, asse-gnandogli lo status di area da salvaguardare, proteggere e valorizzare. Questo habitat è lo-calizzato su una piattaforma rocciosa costituita da tufo di Gravina, un calcarenite facilmente lavorabile solidificatasi nel Pleistocene superiore, tra 126.000 e 11.700 anni fa [1], che ha dato forma ad un articolato insediamento rupestre antico, presente sia nel sottosuolo che in prossimità del centro storico della città, nonché a poche decine di metri da esso, al di là di Open Access
... 3) According to the myth, Dionysus therefore has both mortal and immortal origins/births: he is born the first time from a death, that of Semele, his human mother (just as must is born from the death of its generator/mother the grape, according to the Principle of Symmetry, while the Principle of Generalization establishes a metaphorical analogy between the two deaths), and the second time after a period of maturation in an immortal container, the thigh of his father, Zeus, just as must is transformed into wine after a period of maturation in the pithoiin the local dialect: "l' p'toil",-which, in ancient times, were also used to bury the dead [55]. ...
The present work aims to decode the meaning of a rupestrian structure dug into the rock in the territory of Gravina in Puglia (Italy) to produce wine, being the same profoundly dissimilar from the others having the same function, present in the area and in other Italian locations. The distinctive characteristics of this structure have therefore been analyzed using a methodology that combines Semiotics and Psychoanalysis, since the same cannot be exhaustively decoded according to an approach aimed at reconstructing its functions according to the principles of the mere pursuit of maximum efficiency and effectiveness for the production of wine. Mythology has therefore revealed itself as a code capable of explaining the peculiarities of the structure, suggesting an approach to the landscape aimed at recognizing in it the unconscious connotations that accompany the processes of anthropomorphization of the natural environment, leading to new perspectives on landscape research.
... Thus, all issues of fertility-especially, the negative ones-are traced back to them. Harrison (1991) in The Libation Bearers opines that "Yea, summon Earth, who brings all things to life and rears, and takes again into her womb" (p. 45). ...
Matters concerning infertility mostly hinge on societal narratives. This has led to a lot of misconceptions which have had great influence in the lives of people and society at large. Several literary works have given space to issues of infertility and have highlighted pertinent issues that have received too much or little attention from society. In this paper, using a qualitative methodological approach, disturbing discoveries concerning how the issue of infertility is handled in African societies have been made from Ayobami Adebayo's Stay With Me, highlighting the fact that all accusing eyes turn to the woman when the home is void of a child and the position men assume in such instances. Leaning on the theories of feminism and masculinity, this study seeks to expose the neglected aspect of infertility by highlighting the gaps in the ways infertility issues are handled in African societies and contributing to the knowledge bank of academia.
... On researching the chequered history of this myth, I had found that the original container was not a box but a vessel formed of clay and water [12]. 6 After further reading, I found that, prior to being fashioned from clay and water, Pandora was a revered earth goddess from pagan fertility festivals [13]. This information was in my mind while I sat to work on the form that would hold my synthetic DNA, but I could not predict how it would turn out. ...
This chapter results from a knowledge-producing experiment through the intertwining of art practice and philosophy via the exchange of letters in the time-lapse of two months during the 2020 pandemic. A body of artwork by Louise Mackenzie, consisting of laboratory explorations with living entities,
installations, and artifacts, is interrogated with philosophical concepts by María Antonia González Valerio to provoke a different understanding of the category of life than that suggested within contemporary biological knowledge. The outcome is a reframing in which life appears in a broader context, where contemporary art practice and philosophical questions are fundamental to the
understanding that what is at stake is not only matter but also subjectivities and worldviews.
... These societies were matriarchal and they were displaced by patriarchal ones. The theme of the replacement of peaceful female societies by male invaders is not new; it was postulated at the beginning of the 20th century by Jane Ellen Harrison (1903), and later taken up by Jacquetta Hawkes (1945) and Robert Graves {The White Goddess, 1946). Gimbutas' version of this theme involved a pan-Neolithic sedentary culture which was then surpressed by mounted pastoralists of the steppe, known as the 'Kurgan invaders' (Gimbutas 1991). ...
p>The animal style has become an ubiquitous term in Scytho-Siberian studies, however, its overall acceptance has not let to any significant critical re-examination of the ideas which revolve around it. First I discuss the historical development and uses of the ‘animal style’ in Scytho-Scythian archaeology and rock art studies. The ‘animal style’ was part of the traditional art historical approach which involved the evolution of stylistic schools and Western value judgements of the perceived visual qualities of the art found in archaeological objects, while in rock art studies it was employed as a standard classificatory nomenclature by which the petroglyphs of the Iron Age were classified and dated. Furthermore, its meanings were explained through out-of-date notions of sympathetic magic, totemism, solarism, goddess and shamanism, which are rooted in traditional Western intellectual concepts of ‘primitive’ religion.
To move Scytho-Siberian studies forward we need, crucially, to recognise that the art is socially situated and to utilise approaches that can bring more nuanced understandings to the rock art and material culture of Central Asia. Through the additional assistance of ethnographic analogy, I advance more considered approaches which explore the multiple roles and experiences of zoomorphic imagery. These are demonstrated through two case studies. The first involves data from petroglyph sites in the Republic of Kazakhstan, as I explore the way the animals in the rock art imagery were embedded in people’s lives. Through the examination of the themes of animal, visions and power I demonstrate that it is possible to learn more about than petroglyphs and their places and spaces in the landscape. The second case study explores new facets of animals, art and society in the Pazyryk archaeological culture of the Gorno-Altai and East Kazakhstan. Previous approaches have considered the ornamentation of artefacts with animals as simple decorations or archetypal symbols which only treated them as passive reflections of society. Instead it is recognised here that the zoomorphic decorations in the material culture of the Pazyryk plays an active role in negotiating peoples identities in everyday life and were intimately connected to how individuals create and assert their own identities through their choices of decorative imagery on and off their bodies as well as upon the body of their horses.</p
... My interpretation here is in contrast and antithesis to all those who see Pandora's myth as anti-feminist or as devaluing women. As is obvious from my analysis above that I interpret it in an opposite and contrary way than what Harrison (1908) stated in her influential book on this issue. 29 Chronologically, the myth of Pandora follows the myth of Prometheus. ...
In verses 109-201 of “Works and Days” Hesiod develops a narrative of the past as well as the current and future developments of the human race. In this paper, this description is interpreted as a theory of economic history. Actually, Hesiod puts forward four stages of economic history, calling them races (γένος). However, he inserts a race of heroes, which includes all those who fought in the battle of Troy and the Seven Against the Thebes. He also mentions another race which will come after the race that he himself was living. Even though in the relevant literature five Hesiodic races are mentioned, Hesiod made reference to six. Four in the past, one in the present and another one positioned in the future. Past, present and future is what history is all about and therefore an important part of economic history.
... Praktiniame gyvenime vengdami bet kokio žudymo ir kovos, jie maksimaliai išplėtė phonos 12 sąvokos semantinį lauką, iš principo atmesdami bet kokią prievartą, kurią polis taip sėkmingai buvo perėmęs iš herojų pasaulio (Detienne 1979;72). Jane Harrison, pabrėždama atvirą orfikų priešiškumą polio sistemai, vadino Orfėją reformatu, net prilygino jį Martinui Lütheriui (Harrison 1908;461). Algis Uždavinys kalbėjo apie VI amžiuje pr. ...
The article discusses the crisis of the political, treating this phenomenon as an interactive constellation of political, over-political and apolitical factors. The aim is to reconstruct the assumptions of the crisis and highlight its main features in the context of ancient Greece. Under the influence of Dionysian religion, theater was established as a compelling and universally accessible authority to legitimize democracy. Therefore my analysis focuses on the social change after which democracy was no longer perceived as a form of governance but as a form of collective ownership. The article explains how the unbridled demonstration of power quickly erased the long-cherished principle of verbal argumentation and pushed Greeks to practice of power politics. It is shown how, with the establishment of autocracy, parallel interchange between political and anti-political institutions emerged in the Greek polis.
... My interpretation here is in contrast and antithesis to all those who see Pandora's myth as anti-feminist or as devaluing women. As is obvious from my analysis above that I interpret it in an opposite and contrary way than what Harrison (1908) stated in her influential book on this issue. 29 Chronologically, the myth of Pandora follows the myth of Prometheus. ...
In verses 109-201 of “Works and Days” Hesiod develops a narrative of the past as well as the current and future developments of the human race. In this paper, this description is interpreted as a theory of economic history. Actually, Hesiod puts forward four stages of economic history, calling them races (γένος). However, he inserts a race of heroes, which includes all those who fought in the battle of Troy and the Seven Against the Thebes. He also mentions another race which will come after the race that he himself was living. Even though in the relevant literature five Hesiodic races are mentioned, Hesiod made reference to six. Four in the past, one in the present and another one positioned in the future. Past, present and future is what history is all about and therefore an important part of economic history.
... Either way, it seems likely that Homeric poetry is situated in an important (between worlds) zone of transition between an oral culture and a culture profoundly influenced by writing. 27 As Herodotus implied, it was the epic poets who gave the gods of the Ancient Greek pantheon their now familiar names, shapes and roles (see Harrison, 1908;. As well as affording new aesthetic techniques, the broader societal transition ushered in by the technology of writing-alongside many other factorswas also implicated in a major change to religion that swept across many civilisations during what Jaspers called the 'axial age' (see Eisenstadt, 1982Eisenstadt, , 1985, including the emergence of the great new book-centred (logocentric [Derrida, 1998]) religions like Zoroastrianism, Judaism, Hinduism, Buddhism, Christianity and Islam. ...
When bodies and minds cease to function in silence, everyday lives get disrupted and self-understandings unsettled. We wonder whether we are ill, what ails us, and how it will affect the immediate or long-term future. Through the theoretical lens of liminality, experiences of illness have been described in terms of uncertainty and affective destabilization. In the context of healthcare, liminality is countered by a search for causal explanations, diagnoses, and effective treatment. Little attention has been directed towards how the liminality of illness/disease is managed as patients and medical professionals interact.
... As Herodotus implied, it was the epic poets who gave the gods of the Ancient Greek pantheon their now familiar names, shapes and roles (see Harrison, 1908;Stenner, 2017a). As well as affording new aesthetic techniques, the broader societal transition ushered in by the technology of writing -alongside many other factors -was also implicated in a major change to religion that swept across many civilizations during what Jaspers called the 'axial age' (see Eisenstadt, 1982Eisenstadt, , 1985, including the emergence of the great new book-centred (logocentric [Derrida, 1998]) religions like Zoroastrianism, Judaism, Hinduism, Buddhism, Christianity and Islam. ...
This contribution offers a psychosocial theorisation of the notion of cultural experience/experiencing. Building upon interdisciplinary scholarship on liminality, and developing some insights from Donald Winnicott, an argument is developed which brings to light the distinctively liminal sources of cultural experience. A liminal experience, in a nutshell, involves a temporary suspension of limits that permits a transition to a new set of limits. For this reason, liminality concerns the emergence of novelty just at the moment in which ‘something’ is in the process of becoming. Schütz’s phenomenological notion of a ‘world of everyday life’ permits two related contrasts: first a contrast between the relative stability of a workaday canonical ‘world’ of experience and action and a number of artfully enacted ‘worlds within worlds’ such as art, play and sport, and second a contrast between both of these and circumstances of transition in which people find themselves in a phase of becoming that is ‘between worlds’. It is proposed that cultural experiencing be grasped as liminal experience of a world within a world that happens between worlds: a world within and between worlds. This idea that cultural experience or cultural experiencing has its source in liminal transition is illustrated through a number of examples.
... Either way, it seems likely that Homeric poetry is situated in an important (between worlds) zone of transition between an oral culture and a culture profoundly influenced by writing. 27 As Herodotus implied, it was the epic poets who gave the gods of the Ancient Greek pantheon their now familiar names, shapes and roles (see Harrison, 1908;. As well as affording new aesthetic techniques, the broader societal transition ushered in by the technology of writing-alongside many other factorswas also implicated in a major change to religion that swept across many civilisations during what Jaspers called the 'axial age' (see Eisenstadt, 1982Eisenstadt, , 1985, including the emergence of the great new book-centred (logocentric [Derrida, 1998]) religions like Zoroastrianism, Judaism, Hinduism, Buddhism, Christianity and Islam. ...
Paul Stenner offers a refreshingly new vision of liminality power by deep empiricism and decoupled from rites of passage that which makes it responsive to the spontaneous precariousness of the present day. Taking up Stenner’s call to apply his concept of liminality to empirical research, this chapter draws on three specific case studies drawn from a year of longitudinal narrative interviews and observations with 17 older couples grappling with terminal illness. The first section of this chapter considers the ways “uh oh” moments can be triggered by seemingly mundane moments which catalyse older spouses’ reinterpretation of their situation and self. We will argue that such moments of disappointed expectations are inseparable from the wider “uh oh” moment of the biopolitical order itself. The second section compares and contrasts older caregiving spouses’ use of what Stenner coins “affective liminal technologies” to pursue—albeit not always successfully—“ah ha” moments that complete liminal passages. We will draw on intersectional theory to further illuminate how people’s specific social location can explain why some carers remain stuck in the liminal. The concluding remarks will offer a critical reflection of the utility and indeed possible expansion of his concept for the social sciences.
يركّز هذا البحثُ على الخصائص اللّيبيَّة في عقيدة الرَّبَّة المحاربة العذراء أثينا، ومحاولةً منَّا لتمييز هذه الدّراسة فقد تناولنا جانبًا دقيقًا ومعقدًّا يجمع بين علم اللُّغة وبين التَّاريخ السَّردي، فالرَّبَّة أثينا كانت من أكثر الرَّبَّات شهرةً في بلاد اليونان، كما أنَّها، وتحت أسماء أخرى، عُبدت في مناطق مختلفة من حوض البحر المتوسّط، منها ليبيا ومصر وفينيقيا وسوريا وكريت وإيطاليا وغيرها. وفي الدّيانة الإغريقيَّة أُطلقت على أثينا ألقابٌ عديدةٌ تعكس طبيعتها ووظائفها الدّينيَّة، فكان من بينها ألقابٌ مثل: بالاص أو بالاديون وتريتونيا أو تريتوجينيا، وهي ألقابٌ أثارت الجدل بين الباحثين، نظرًا لغموض معناها وأصلها. وقد اعتمدنا في دراستنا هذه على المصادر الأدبيَّة، والأثريَّة على السَّواء، واتَّبعنا المنهج السَّرديَّ التَّحليليَّ، وفي الوقت عينه ناقشنا الآراءَ والنَّتائجَ الَّتي توصَّل إليها الباحثون الآخرون عن ذات الموضوع. وقد خلصت الدّراسة إلى عدد من النَّتائج أهمُّها: أنَّ الألقاب الدّينيَّة الَّتي وردت في هذا البحث كان لها بالفعل أصولٌ ليبيَّة، وأنَّ أثينا، تحت لقبها بالاص، كانت في الأساس ربَّة ليبيَّة انتقلت في زمن ما من شمال أفريقيا لبلاد اليونان.
L’utilité historique et culturelle de l’histoire ancienne et, peut-être davantage encore, celle des religions « païennes » de l’Antiquité sont souvent mises en question. Ce qui est surtout le cas pour une religion comme celle des Grecs et des Romains, qui n’a pas, à première vue, de lien avec le judaïsme et le christianisme ainsi qu’avec le monde oriental dans lequel ceux-ci se sont formés. Or notre culture est un héritage de la culture gréco-romaine. Comment imaginer un rapport avec notre propre culture et ses œuvres sans une connaissance du passé gréco-romain ? L’étude de la religion des Grecs et des Romains n’a-t-elle, par exemple, rien à nous apprendre ? La religion qui prédomine actuellement dans le monde occidental définit-elle aussi la nature de toute religion dans le passé, en éliminant d’office les « paganismes » ? Quand l’étude historique des sources directes, c’est-à-dire des inscriptions et des structures archéologiques, révèle que le ritualisme était omniprésent et avait un sens, faut-il arrêter l’étude parce que « tout cela est faux » ? Récusant ce mépris, l’approche empirique des religions préchrétiennes peut révéler des liens entre les religions d’aujourd’hui et celles des Romains ou des Grecs, inviter à respecter les cultures différentes au sein de notre société, et surtout avertir contre l’intolérance.
The essay presents a comparative analysis of three modernist novellas— Heart of Darkness , Death in Venice , and The Turn of the Screw —focusing on their use of Dionysian motifs, whereby “Dionysian” is intended in its Nietzschean context. Alongside the thematic literary connections it draws, the essay also reflects on the motives and implications of Nietzsche’s Dionysism for modernist aesthetics: Nietzsche’s eventual subsumption of the Apollonian under the Dionysian ushers in modernity’s espousal of irrationality, disease, darkness, and concealment as its privileged moments of expression. However, this new Dionysism is also symptomatic of the anxiety experienced in the aftermath of the death of God (and the concomitant death of the soul), and the essay demonstrates that the figure of the irrational in all three novellas is conveyed in terms of the struggle of a soul.
Felsefe-din ilişkisi hem İslam düşüncesinde hem de çağdaş Batı düşüncesinde önemli bir tartışma konusu olarak yer almaktadır. Bu makale felsefe-din ilişkisinin başlangıç noktası olan klasik Yunan düşüncesinde Homeros’tan Aristoteles’e kadar geleneksel ve felsefî din konusuna odaklanmaktadır. Bu bakımdan antik Yunan düşüncesinin -en azından yazılı ve teorik- felsefî faaliyetin başlangıç noktası olması sebebiyle felsefe-din ilişkisinin sıfır noktası olarak kabul edilebilir. İslam düşüncesinde felâsifenin hemen tamamı metinlerinde felsefe-din ilişkisine yer vermiştir. Fakat Fârâbî ve İbn Sînâ felsefe açısından dinin durumuna yönelik bir açıklama yaparken, İbn Rüşd din açısından felsefenin durumunu incelemeyi esas almıştır. Bu noktada felsefe-din ilişkisinin, biri “felsefe açısından din”, diğeri “din açısından felsefe” şeklinde iki yönünden bahsedilebilir. Her ne kadar İslam düşüncesinde bu ilişkinin iki yönünden de meseleye bakılsa da genel olarak bütün İslam filozofları meseleye, yöntemleri farklı fakat amaçları bir olan iki olgu olarak bakmışlardır. Buna karşılık çağdaş Batı düşüncesinde ise özellikle 19. yüzyıl düşünürlerinin büyük çoğunluğu evrimci bir perspektiften yola çıkarak meseleye büyük oranda, aklın ve düşüncenin eşlik etmediği inanç alanı olarak din ile akıl ve düşünceyle insanın ulaştığı gelişmiş seviye olarak felsefe şeklinde birbirine zıt unsurlar olarak bakmaktadır. Bu nedenle meselenin sıfır noktası olan Antik Yunan’da dinin, filozofların düşüncesinde ya da inanç sistemindeki yeri hem İslam düşüncesi hem de modern Batı düşüncesi için önemlidir. Makalede Antik Yunan düşünürlerinin dine dair görüşleri; tanrı, tanrı-insan ilişkisi, insanın tanrıya/tanrılara karşı sorumlulukları, öte dünya inançları vb. tespit edilmeye çalışılacaktır.
Much can be added to Jane Beal's right observation that Beren and Lúthien's tale is a Christian retelling of the myth of Orpheus and Eurydice. To begin with, Holy Saturday is the day that the Orthodox Church traditionally dedicates to the Anastasis, that is, to the ascent of Christ into Heaven to lead there the Chosen among those who lived before His coming, first of all Adam and Eve. Since they were in Hell until then, sometimes Christ has to snatch them from the devil, who would not want to open the gates to Him, so in some representations Christ crushes the gates, the devil, or both under his feet. Often Jesus is accompanied in the enterprise by Dismas, the Good Thief, for example in Albrecht Dürer and in the mosaic of San Marco in Venice. This tradition is widespread in Italy as attested by the mosaic of San Marco among others, but it is in France that the Ovid Moralized reconnects it to Orpheus who descended into the Underworld to save Eurydice (an already late antique parallel) and therefore attests a happy ending version of the story that can be found in medieval England and also in various classical sources, perhaps even constituting the original legend of Orpheus. In short, Tolkien has a wealth of precedents in giving his Orpheus and Eurydice, i.e. Beren and Lúthien, a happy ending. On the other hand, what for the Orthodox is the Anastasis finds its source in Ephesians but is above all apocryphal, going back to the Gospel of Nicodemus in its complete form, and it is a recurring motif especially in the Anglo-Saxon and Middle English religious poetry that Tolkien studied, under the name of "Harrowing of Hell" (Harrowing, that is, in agriculture, the splitting of the soil into clods, as a metaphor for the distinction between the saved and the damned).
Despite Late Bronze Age Aegean art containing a number of depictions of armed women, unacknowledged preconceptions about gender continue to divert thoughts away from past women exercising violent or coercive power, and thus affecting significantly our understanding of Late Bronze Age Aegean societies in general. This paper examines the depiction of armed women in the art of the Late Bronze Age Aegean and considers how previous generations of researchers have chosen to interpret it. The author then uses recent developments in gender theory and political theory to suggest that the connection of women to power needs to be reassessed.
This chapter shows how, whereas Thales was an inspiration for both Nietzsche’s conception of the will to power and his view that philosophy—driven by a mystical intuition of cosmic oneness—uses scientific thought as an artistic medium so as to create meaningful worldviews, contemporary scholarship supports Nietzsche’s view of Anaximander as being a nihilist; one who, nevertheless, inspired Nietzsche’s affirmative concept of the eternal return. After noting how Pherecydes reformed Greek myth in a more peaceful and pro-woman direction, I use the intimate link between Milesian philosophy and orphism as well as the fact that orphics often veiled the mother of the gods in symbols to argue that both Thales’ water and Anaximander’s apeiron were symbolic representations of goddesses; concepts that exhibit the same rebirth-directing function as goddesses in the Eleusinian mysteries and Old Europe. (Both the maternal nature of the apeiron and that Anaximander reformed Hesiodic myth so as to put men and women on equal footing have been previously noted by other scholars.) As with the other presocratics, I combine such doctrinal evidence with biographical reports that testify to the presocratics’ partnership sensibility, and I suggest that this is how philosophical subjectivity manifests through various behavioral traits.
Diese Studie befasst sich mit zwei nächtlichen Ritualen, die im antiken Athen zu Ehren der Hauptgottheit der athenischen Polis, der Athena Polias, veranstaltet wurden – die Arrhephoria und die Plynteria. Als Ergebnisse der Analyse schriftlicher und archäologischer Quellen stellt die Verfasserin ein neue Rekonstruktion der Topographie und des Ablaufs des Arrhephoria-Festes sowie der tageszeitlichen Ordnung des Plynteria-Festes vor. Auf dieser Grundlage werden Interpretationen dieser beiden Rituale und vor allem Überlegungen zur Zweckmäßigkeit ihrer nächtlichen Durchführung angeboten, bei der, wie die Studie zeigt, der Aspekt des Verborgenen und des Nicht-Sehens die Hauptrolle gespielt zu haben scheint.
Résumé La prise de conscience du changement climatique avec l’investigation sur ses causes et la préoccupation quant à l’impact des activités humaines sur les transformations de la biosphère ont provoqué une redéfinition du féminisme en écoféminisme. La réflexion sur les relations de domination des hommes sur les femmes se double désormais d’une critique de la domination des humains sur la « nature », sinon de la domination coloniale puis néocoloniale des pays du Nord sur les pays du Sud. La confrontation anthropologique avec les représentations et les pratiques d’une autre culture, en l’occurrence celle de la Grèce ancienne, implique en retour d’adopter un regard critique à l’égard de nos propres représentations et concepts. Une relecture de l’Hymne homérique à Déméter permet de revenir sur les usages féministes de ce poème, par trop centrés sur la relation mère-fille, tout en mettant en cause certaines des conceptions écoféministes contemporaines qui associent au féminin un environnement réduit à l’état d’une « nature », Terre-Mère incarnée dans la divine Gaia… Entre mythe et rituels, le récit du rapt de Perséphone invite à repenser le rôle des pratiques des femmes et des hommes dans leurs rapports avec un environnement par ailleurs indispensable à leur survie, matérielle et culturelle. Abstract Title: The Homeric Hymn to Demeter: an Ecofeminist Manifesto? Rising awareness of climate change, including investigation of its causes and concern about the impact of human activity on the transformations of the biosphere, has prompted a redefinition of feminism into ecofeminism. The reflection on male-female domination has now extended to a critique of men’s domination over “nature”, if not of the colonial then neocolonial domination of the global North over countries in the South. The anthropological confrontation with the representations and practices of other cultures – I will here focus on ancient Greece – entails that, in return, we reassess our own representations and concepts with a critical eye. In this rereading of the Homeric Hymn to Demeter, I will reexamine the poem’s feminist uses, which have tended to focus far too much on the mother-daughter relationship, while challenging some contemporary ecofeminist notions that associate the feminine with an environment reduced to the state of “nature”, with Mother Earth embodied in the divine figure Gaia. The narrative of the rape of Persephone – in between myth and ritual – invites us to rethink the role of women’s and men’s practices as they establish relations with an environment that is necessary to their material and cultural survival.
This thesis aims to demonstrate that the origins of law, dating back to the gods.
This means that the current legal science is born (comes) of ancient myths, why
will be used to demonstrate this through historical and philological analysis. With
respect to historical analysis, worship ancient cultures that paid their gods will
develop.
In some archaic peoples, had the belief that some god of law or god of justice,
handed men their laws, while in others, such as Greece and Rome towns in figure
changed a little, because for them, right was a god or goddess, who was in charge
of administering justice and enforce order in society.
In other words, they understood that the law was sacred and therefore the right
rose to the rank of a deity and that is where enters the philological analysis,
describing the social context of the time and developing the concept of myth.
Фигура старухи имеет в эпосе «Сасна црер» довольно богатый набор мотивов и функций, проявляясь во всех его четырех ветвях. Образ Артатер Парав (хозяйки поля-старухи) выделяется в третьей ветви эпоса устойчивыми мотивами и важной ролью. По своему отношению к полевым работам, а также по другим признакам эта фигура имеет сходство с богинями Деметрой и Анаит, кельтской богиней Старухой-Матерью Тайтиун и знаменитой Старухой Гекалес в греческой мифологии. В эпосе «Сасна црер» Артатер Парав характеризуется многообразием функций, проявляется как в образе женщины с жизненным опытом, так и в образе заботливой матери, а также имеет общие черты с поучающей старухой из сказки. Старуха – персонаж Старой Матери, которая подталкивает Дaвида к испытаниям на пути от юности к зрелости, от невежества к осознанию ответственности. Образ Артатер Парав, как и ряд ее параллелей, включает в себя характеристики почвы, земли, растительности, плодородия, а во взаимоотношениях с богатырским Младенцем она представляет характеристики исполнителя обряда освящения, а также матери-наставницы или приемной матери. Старуха также является той, кто верит в божественную, небесную силу героя и освящает его. В «Сасна црер» Артатер Парав подчинена эпическим диктатам эпоса, эпическим формам характеристики, функций и конечной цели героя, действующего в третьей ветви. Исключительная роль Артатер Парав в третьей ветви эпоса показывает связь Старухи с культовыми слоями земли. The figure of an old woman in the epic “Sasna Tsrer” has a rather rich set of motifs and functions manifesting itself in all four branches of the epic. The image of Artater Parav (the mistress of the field - the old woman) stands out in the third branch of the epic with stable motifs and an important role. In her attitude to field work, as well as in other ways, this figure resembles the goddesses Demeter and Anahit, the Celtic goddess Old Mother Taitiun and the famous Old Woman Hecales in Greek mythology. In the epic "Sasna Tsrer", the image of Artater Parav has an interesting development and is characterized by a variety of functions. She manifests herself both in the image of a woman with life experience and in the image of a caring mother; she has common features with the instructive old woman from the fairy tale. The old woman is an Old- Mother character who pushes David through purification tests on the way from youth to maturity, from ignorance to awareness of responsibility. The image of Artater Parav, as well as a number of her parallels, includes the characteristics of soil, land, vegetation, fertility, while in her relationship with the heroic Infant, she represents the characteristics of the performer of the rite of consecration, as well as the mother-mentor or foster mother. The old woman is also the one who believes in the divine, heavenly power of the hero and sanctifies him. In the epic “Sasna Tsrer”, Artater Parav is subject to the plot dictates of the epic, the epic forms of characterization, the functions and the final goal of the hero acting in the third branch. The exclusive role of Artater Parav in the third branch of the epic shows the connection of the Old Woman with the cult layers of the earth.
The apparently pessimistic implications of Spenglerian analysis have often appealed to others who foresaw the end of Western civilization, but Spengler himself was less discouraged. Even if no great art, music or literature could be expected in these latter days, great engineering projects were possible, and to be admired. Nor was Western (“Faustian”) Culture and Civilization the only game in town: other Cultures, like the “Magian,” had been embedded and distorted by the dominant regimes, both Classical and Western, and could still be an inspiring presence. A similarly distorted Culture might still be growing in Russia. And even when all present Cultures were exhausted there would be hope of some new, unpredictable, emergence, for which I offer some imaginable examples drawn from contemporary fantasy, as well as the abiding presence of what Spengler usually thought “pre-cultural,” or “primitive” societies.
The stories of Perseus, Danae, Andromeda, Medusa, and Pegasus belong to the most often depicted myths of the Ancient Greeks and Romans. The book analyses the evolution of grammar and vocabulary of these depictions. The stress is laid on the continuity of pictorial tradition, but above all on the discontinuity of meanings. The title of the book has a double meaning. It suggests that the book is not about myth but representations of myth. It also indicates that the myth of Perseus is analyzed in terms of its relationship to seeing and imagery. It is the first study of this type and extent.
Öz: Yunan Mitolojisi, yer ile göğün birbirinden ayrılmasıyla canlı formunun vücut bulduğu boşluğun oluşumunu, Gaia'nın Uranüs'ü doğurmasıyla dişil ilkenin eril enerjiye kendinden ayrı varlık kazandırması olarak anlatır. Doğanın mizacında ne gördüyse onu bir arketipin karakterinde alegorik yaklaşımla kurgulayan mitsel anlatıya göre, evrenin denge halindeki düzenini sağlayan dişil ilke, Gaia ile Uranüs'ün ayrıldıktan sonra birlikte meydana getirdikleri boşluğun ruhu olan Themis'tir. Gaia'dan kehanet gücünü alan Themis'in bilgisi, zaman akışının üstünde olduğu için evvel de ahir de malumudur. Yer ile Gök arasındaki tüm hikâyenin bilgisini taşıyan tanrıçanın adil düzende kurduğu denge, Zeus'tan olan kızları Dike, Eunomia ve Eirene adındaki üç tanrıçanın çevrelediği sacayağında yükselir. Toplumsal yaşamda dengeyi gözetecek bu üç tanrıçadan Dike, hukukun temeli olan adaleti simgeler. Themis'i toplumsal yaşamda pasif ilke olarak tanımlayan anlatıya göre, Dike onun yeryüzündeki temsilcisidir. Ancak zamanın ruhu tanrıçanın karakterinde ve görünümünde değişikliğe neden olurken, iyi yasalarla kurulmuş düzenin simgesi olan Eunomia ile refah ve mutluluk sağlayan barışın simgesi Eirene bilinçte muğlaklaşmış, ilkeler maddeye indirgenerek üç tanrıça arasındaki bağ unutulmuştur. Toplumsal huzurun ve devletin bekasının kilittaşı olan adalet, ancak onu her yönden kuşatan iyi yasalarla arasında hiçbir sızıntının olmadığı düzende varlık gösterebilir. Yasada tutkuların olmadığı bir zekânın bulunması gerektiğini söyleyen Aristoteles'e atıfla, çalışma, toplumu muhtelif saiklerle kompartımanlara bölen yasaların/kararların/fikirlerin kendi ötekisini yarattığı ve böylesi bir iklimde, adaletin tanımını kendi lügatine indirgeyenlerin toplumda daha görünür olması durumunda, kolektif vicdanın da sözcülüğünü yaptıkları sanrısının kültürü dekadansa uğrattığı iddiası taşımaktadır. Doğal düzen içerisinde kurulan kültürel düzenin kaynağına Themis'in ilkeselliğinde Dike, Eirene ve Eunomia'yı koyan mitsel anlatıya yaklaşıp arketipler arasında yeniden bağ kurabilmek için hikâyeye dilin dönüşümü doğrultusunda holistik paradigmadan bakmak gerekmektedir.
Anahtar Kelimeler: Yunan Mitolojisi, Themis (Denge), Dike (Adalet), Eirene (Barış), Eunomia (Düzen)
Abstract: In Greek Mythology, the formation of the void in which the living form is embodied by the separation of the earth and the sky is described as the feminine principle giving the masculine energy a separate existence after Gaia gave birth to Uranus. According to the mythical narrative, which fictionalizes what it sees in nature's temperament in an archetypal character with an allegorical approach, the feminine principle that provides the balance of the universe is Themis, the spirit of the void created together by Gaia and Uranus after their separation. Since the knowledge of Themis, who received the power of prophecy from Gaia, is above the flow of time, both the before and the end of time are known by her. The balance that the goddess, who carries the knowledge of the whole story between Earth and Sky, establishes in a fair order, rises on the trivet surrounded by three goddesses named Dike, Eunomia and Eirene, their daughters from Zeus. Dike, one of these three goddesses who will keep the balance in social life, symbolizes justice, which is the basis of law. According to the narrative that defines Themis as a passive principle in social life, Dike is her representative on earth. However, while the spirit of the time caused a change in the character and appearance of the goddess, Eunomia, the symbol of the order established by good laws, and Eirene, the symbol of peace, which provides fertility and happiness, became ambiguous in consciousness, the principles were reduced to matter and the bond between the three goddesses was forgotten. Justice, which is the keystone of social peace and the survival of the state, can only exist in an order where there is no leakage between it and good laws that surround it from all sides. With reference to Aristotle, who says that there should be a mind without passions in law, the study claims that the laws/decisions/ideas that divide the society into sections with various motives collapse the culture, which means that they create their own other. In such a climate, those who reduce the definition of justice to their own dictionary become more visible in the society and think that they are also the spokespersons of the common conscience. It is necessary to revise the story from a holistic paradigm in line with the transformation of language in order to reconnect between archetypes by approaching the mythical narrative that put Dike, Eirene and Eunomia in the principle of Themis to the source of the cultural order established in the natural order.
Keywords: Greek Mythology, Themis (Balance), Dike (Justice), Eirene (Peace), Eunomia (Order)
The Te’omim cave is situated on the western edge of the Jerusalem Hills. The cave consists of the main hall (approximately 50×70 meters with a maximum height of about 10 meters). Several passages lead from the main hall to other small chambers and systems of crevices. The cave detailed description is presented. The Te’omim cave has been researched by archaeologists since the late 19th century till now. Modern excavations discovered multiple artifacts of various periods of time, including Neolith, Bronze and Iron Ages, Roman and Byzantine periods and etc. Recent finds are described in the paper. In the antique times calcite deposits in the cave main hall were quarried to produce “calcite alabaster”. This is the first “alabaster” quarry known in the southern Levant. Quarry faces, toolmarks and unfinished blocks remained, and they are described in the paper.
A través de la copia y reinterpretación de Phaenomena se inicia el trabajo de catalogación estelar más completo de Occidente. Pero más allá de la matriz astronómica del poema, la reelaboración mítica realizada por Arato evidencia un esfuerzo de asimilación cultural y ordenamiento de la bóveda celeste. El cielo del siglo III a.e.c. aparece como materia viva semiótica, poetizable y divulgable, dispuesta como un λóγος para el bienestar del hombre, quien es un lector potencial de signos que le permiten intervenir en el mundo. En este trabajo nos centramos en el pasaje de las Osas (vv. 26-44) como paradigma de análisis.
Многие традиционные религиозные праздники на Сицилии несут в себе символизм, связанный с идеей плодородия растительности и человека, возвращения жизни и изобилия, и демонстрируют временную связь с производственными циклами основных сельскохозяйственных культур. Такие символические и временные связи особенно очевидны в случае трапез, устраиваемых по обету в праздник святого Иосифа (19 марта). Виды и форма блюд, приготовляемых по этому случаю, театрализованные элементы обрядов, сопровождающих «священную» трапезу, реальные и виртуальные участники этих обрядов (Святое Семейство, апостолы, так называемые «вирджинедди», «старички») ясно отсылают к системе аграрно-хтонических представлений, свойственных многим европейским и средиземноморским крестьянским культурам. Кроме того, время, когда отмечается праздник, имеет очевидную связь с весной и прорастанием пшеницы, отражая потребность в критический момент в защите сверхъестественных сил, проявляющих, несмотря на внешнюю христианскую коннотацию, хтонический и связанный с потусторонним миром характер.
Numerous traditional Sicilian religious festivals have a symbolism related to plant and human fruitfulness and to the return of life and abundance and they reveal a temporal connection with the productive cycles of the main agricultural products. These symbolic and temporal connections are particularly evident in the case of votive banquets set up for Saint Joseph (March 19). The types and forms of foods prepared, performative moments that accompany the sacred meal, and the ritual actors who consume it (the Holy Family, the apostles, the virgineddi [small virgins], the vicchiareddi [little old men]) clearly refer to an agrarian-chthonic ideology typical to numerous Euro-Mediterranean peasant cultures. Moreover, the time when the festival is celebrated has an evident relationship with the spring and the germination of crops and reflects the desire that this critical moment be protected by supernatural forces that, despite the surface Christian references, are rooted in chthonic beliefs connected to the aft erlife.
This article provides a comparative analysis of the semantic equivalents of Orphic ideas about the afterlife of the soul and Plato’s philosophical views. An overview of the leading research concepts of Orphism is presented; their strengths and weaknesses are analysed in the light of the new archaeological data. As a methodological platform, the maximalist approach was chosen, according to which the cult of Orpheus can be traced historically and its principles and practices can be identified. The basic idea is that mystical cults (including Orphism) are an organized system that is widespread throughout the Mediterranean region. The analysis of written, archaeological, and epigraphic data indicates that Plato’s system of views on the immortality of the soul is a theoretical explication of the “metaphysical” doctrines of the Orphic mysteries. It is proven here that Plato, using Orphic formulae in his dialogues, transmitted Orphic ritual traditions through his philosophical writings. In addition, it is demonstrated that Plato turned to the Orphic myth to explain such phenomenal and noumenal issues as the nature and the afterlife of the soul. A conclusion is made that the doctrine of the Orphic tradition can be reconstructed due to the systematic use of Orphic formulae by Plato, which also indicates the integrity of the Orphic teaching. Plato not only used the language of the mysteries, but also developed his own system of teaching Orphic rites on its basis. It was a kind of scientific methodology explaining the Orphic doctrine with the help of Socrates’ dialectical method. Thus, further research into Plato’s views on the afterlife of the soul will shed some light on the Orphic teaching in particular, and mystical cults in general.
The paper is concentrated on the Derveni papyrus. According to the cosmology of the papyrus Zeus recreated the world anew. The meaning of this self-contained process may indicate the poet's desire to reflect the cyclicity of time, manifested in the alternation of the one and the many. Besides, this model may be related to the famous Orphic idea of the cyclic life of the soul. It is also possible that we are facing the first example of the cosmological scheme, which we later find in Heraclides of Pontus, and I think that it is no accident that the doxographer (or Heraclides himself) attributes it to the Orphics, who “make each of the heavenly bodies into a cosmos” (Aetius 2.13.15). The eternally existent universe evolves thanks to the creative energy of sky (Uranus), which is concentrated in the sun. Zeus recreates this universe on earth, building a small cosmos in which we inhabit and all that we see. Developing this idea in the spirit of Giordano Bruno, we can assume that this or that deity, in the Orphic (and Pythagorean) view, recreates from the original material a unique cosmos on each of the celestial bodies, and the universe is populated by a variety of beings inhabiting all kinds of worlds.
The following paper discusses the way in which female beauty was conceived of in ancient Greek culture, especially in the Hesiodic description of the creation of Pandora. As I argue, some of the aspects of this creature that, according to some feminist academic writers, might have resulted from an unsympathetic perception of women, as a matter of fact, may be a part of a positively charged image of an ideal woman in Hesiodic epics. The alleged artificiality and superficiality of Pandora were most probably not meant to compromise her truthfulness or fertility, but instead were intended to attract males.
Bu makalenin konusu, Lykia Bölgesi’nin en büyük tiyatrosu olan Myra Tiyatrosu orkestrasında 2020 yılında tespit edilen bir sunu kabı olan ticari amphora biçimli bir Kernos parçasıdır . Çalışmada, bilinen örnekler ışığında Attis ve Hermes gibi khitonik tanrı ve Rhea, Kybele ve Demeter gibi ana tanrıça inancıyla bağlantılı olduğu bilinen önemli bir kült kabı olan kernoslar, örnekleri Myken Dönemi’nden itibaren özellikle Eleusis’teki kusal törenlerde kullanıldığı düşünülen ve birçok yerde örneği bulunan, Anadolu’da ise Kaunos Antik Kentindeki Demeter Kutsal Alanı’nda tespit edilen malzemelerdir. Ritüellerde önemli bir yeri olan bu formun, antik dünyadaki yeri irdelenip benzer örneklerle Myra kernosunu karşılaştırma yöntemiyle literatüre dahil etmek hedeflenmiştir. Makalenin konusu olan malzeme, bulunduğu yer konumuyla ne yazık ki bir kontekst içermemektedir. Bu bağlamda bulunduğu yer ile ilişkili bir tarihleme yapılamaması söz konusudur. Morfolojik açıdan incelendiğinde En yakın örneği, Kaunos örnekleri olduğu için dönem olarak Klasik ya da Hellenistik Dönem olabileceği yönündedir.
Celtic modernism had a complex history with classical reception. In this book, Gregory Baker examines the work of W. B. Yeats, James Joyce, David Jones and Hugh MacDiarmid to show how new forms of modernist literary expression emerged as the evolution of classical education, the insurgent power of cultural nationalisms and the desire for transformative modes of artistic invention converged across Ireland, Scotland and Wales. Writers on the 'Celtic fringe' sometimes confronted, and sometimes consciously advanced, crudely ideological manipulations of the inherited past. But even as they did so, their eccentric ways of using the classics and its residual cultural authority animated new decentered idioms of English - literary vernaculars so fragmented and inflected by polyglot intrusion that they expanded the range of Anglophone literature and left in their wake compelling stories for a new age.
The founders of Greek scientific thought believed justice in terms of equality. Cosmic equality, in fact, was conceived as the guaranty of cosmic justice: the order of nature is maintained because it is an order of equals. That the main components of the universe are equal was an old tradition in popular cosmology. In Hesiod earth and sky are declared equal ; and the distance between sky and earth is equal to that between earth and Tartarus. Anaximander’s own cosmology is designed with just such a sense of aesthetic symmetry, with equality as the main motif: the intervals between each of the infinite worlds are equal; the intervals between earth, fixed stars, moon, and sun are also equal; earth and sun are equal. This is exactly the sense in which equality figures in the whole development of early cosmological theory from Anaximander to Empedocles: powers are equal if they can hold another in check, in a way that no one of them is more powerful than any other. The objective of this paper is to propose a cosmological interpretation of the term díkē in ancient Greek according to Aristotle, who establishes synonymy between justice and equality through the use of the «dividing line» paradigm. Aristotle reveals, in effect, that the words diksastḗs «judge» and dikaion «just» come from the root díkē, «judgment or sentence», which in their turn are derived from the adverb dīksā, «division into two equal parts». Moreover, the adverb dīksā comes from the Greek root dís-, «divided into two parts, dichotomous», which in its turn is derived from the Sanskrit root *diś- whose meaning indicates the astronomical concept of the «horizon line», — i.e. the boundary line that divides apparently the cosmos in two equal parts, the Earth and the Sky. As said by Palmer and Gagarin, in effect, the meaning of the word Díkē is associated with making a «judgment or decision» between two contestants, that is, placing a «dividing line» between them. Furthermore, this original conception representing justice as a division of the cosmos into two equal parts, or cosmic dasmós, has its roots in ancient cosmogony not only Greek but also Indo-Iranian, Hindus, Old Persian, Egyptian, Babylonian and Chinese. To conclude, according to my research, also Plato could have used the paradigm of the «Line of the horizon» to explain his cosmological Doctrine of Ideas.
This article exposes the principles of an ecosemiotic theory of oral poiesis, which conceives of singing as a highly specific habit or skilled practice within the human domain of languaging. It is claimed that oral poiesis may contribute to the semiotic alignment of human and nonhuman own-worlds (Umwelten), playing a role in processes of structural coupling within a habitat, understood as a hybrid assemblage or collective of multispecies inhabitants. The article describes how oral poiesis, as a modeling system, contributes to sustaining the various modes of identification that characterize collective human ontologies (animism, naturalism, totemism, analogism) through distinctive operations of symbolization (literality, metaphor, metonymy, analogy). These modes of ecopoetic symbolization serve to bring nonhumans, such as animals, plants, mountains, or rivers, into human own-worlds. Moreover, as one of many skilled practices of humans, oral poiesis is characterized by certain intrinsic features, such as attention, play, feeling, ritualization, musicality, or remembrance, which contribute to human sociality and hence to a system-wide relationality. All these elements constitute the foundations of a poetics of cohabitation.
In 1851 excavators working at the Porta Stabia in Pompeii recovered the so-called Road Maker’s Tablet, an inscription mentioning how two aediles had supervised road work in the Oscan city. The find proved remarkable because it provided the Oscan names of three streets, the viú Púmpaiianú, the via Jovis, and the Dekkviarim, and mentioned a sanctuary to Jupiter Meilichios as an associated landmark. Successive generations of scholars have since proposed varying interpretations as to which of the Pompeian streets featured these appellatives and have attempted to locate the sanctuary either inside the city, at the site of the (now identified) Temple of Asclepius, or immediately south of Pompeii at the Fondo Iozzino. Using a combination of epigraphic and art historical approaches, as well as an analysis of the latest archaeological evidence, this paper proposes a new interpretation, locating the sanctuary north of the city outside of the Porta Vesuvio.
En las siguientes líneas analizaremos la escena mítica que ocurre entre dos figuraciones femeninas, a saber: Baubo y Deméter. Nuestro interés en señalar dicha escena responde a rescatar una narración de alianza femenina frente a los relatos de rivalidad entre diosas y entre estas y mujeres y, también, frente a los relatos de fraternidad entre figuraciones masculinas. Rescatar este mito nos permite reconstruir la imagen de un espacio seguro para mujeres, un lugar en el que compartir vida y muerte, dolor y alegría. Para ello recurriremos a las fuentes originales que nos transmiten esta escena, así como a reflexiones contemporáneas sobre este mito. Pasaremos a analizar los elementos que configuran la narración desarrollando la implicaciones que podrían tener para las mujeres con el objetivo de poder ofrecer una interpretación general que nos lleve a extraer una serie de consideraciones acerca de la posibilidad de una alianza genuina entre mujeres.
This paper presents the material evidence from two neighbouring Early Iron Age sites at Xobourgo on Tenos, identified as sacred places, and comments on their religious character and evolution. The first, conventionally named the Pro-Cyclopean Sanctuary, has a purely mortuary character. It starts in the Late Protogeometric period with an ancestral cult on a pebble platform over an empty grave, continues with a number of pyre pits inside enclosure walls, and ends up with a chthonic cult at an eschara in the Late Geometric period to be replaced by a small sacred oikos in the 7th century. The second starts as an open-air shrine, named the Pre-Thesmophorion Shrine, with an eschara and a protected place for storing pithoi, and it is turned into a Demeter sanctuary, a Thesmophorion, with a small temple in the Classical period. After considering the development and phases of both sites, it is claimed that they have similar, though not identical, cultic roles. Their different architectural and religious evolution is considered as largely dependent on social changes and historical conditions. They are compared and discussed against contemporary archaeological evidence for ancestral and chthonic cults focusing on such evidence from Tenos.
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