scholarly journals CLARIN-IT and the Definition of a Digital Critical Edition for Ancient Greek Poetry

Introduction ◽  
2020 ◽  
Author(s):  
Anika Nicolosi ◽  
Monica Monachini ◽  
Beatrice Nova
Keyword(s):  
Critical Edition ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Definition Of

Some Ancient Greek and Twentieth-Century Theories of Value

2020 ◽  
Vol 97 (3) ◽  
pp. 374-385
Author(s):  
Richard Kraut
Keyword(s):  
Twentieth Century ◽  
Ancient Greek ◽  
Early Twentieth Century ◽  
Human Good ◽  
Good For ◽  
Definition Of

Abstract Plato puts goodness at the center of all practical thinking but offers no definition of it and implies that philosophy must find one. Aristotle demurs, arguing that there is no such thing as universal goodness. What we need, instead, is an understanding of the human good. Plato and Aristotle are alike in the attention they give to the category of the beneficial, and they agree that since some things are beneficial only as means, there must be others that are non-derivatively beneficial. When G. E. Moore proposed in the early twentieth century that goodness is, as Plato had said, the foundation of ethics, he rejected not only the assumption that goodness needs a definition, but also that goodness is beneficial – that is, good for someone. This article traces the development of this debate as it plays out in the writings of Prichard, Ross, Geach, Thomson, and Scanlon.

scholarly journals Bodies Out of Time: Sculpting Queer Poetics and Queering Classical Sculpture in the Poetry of C. P. Cavafy

2021 ◽  
Author(s):  
J. L. Watson
Keyword(s):  
Raw Material ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Modern Greek ◽  
The Past ◽  
Greek World

AbstractTwo major themes dominate the poetry of the Alexandrian poet, C. P. Cavafy: homosexual desire and Greekness, broadly defined. This paper explores the interconnectivity of these motifs, showing how Cavafy’s poetic queerness is expressed through his relationship with the ancient Greek world, especially Hellenistic Alexandria. I focus on Cavafy’s incorporation of ancient sculpture into his poetry and the ways that sculpture, for Cavafy, is a vehicle for expressing forbidden desires in an acceptable way. In this, I draw on the works of Liana Giannakopoulou on statuary in modern Greek poetry and Dimitris Papanikolaou on Cavafy’s homosexuality and its presentation in the poetry. Sculpture features in around a third of Cavafy’s poems and pervades it in various ways: the inclusion of physical statues as focuses of ecphrastic description, the use of sculptural language and metaphor, and the likening of Cavafy’s beloveds to Greek marbles of the past, to name but three. This article argues that Cavafy utilizes the statuary of the ancient Greek world as raw material, from which he sculpts his modern Greek queerness, variously desiring the statuesque bodies of contemporary Alexandrian youths and constructing eroticized depictions of ancient Greek marbles. The very ontology of queerness is, for Cavafy, ‘created’ using explicitly sculptural metaphors (e.g. the repeated uses of the verb κάνω [‘to make’] in descriptions of ‘those made like me’) and he employs Hellenistic statues as a productive link between his desires and so-called ‘Greek desire’, placing himself within a continuum of queer, Greek men.

The Stoic Theory of Beauty

2020 ◽  
Author(s):  
Aiste Celkyte
Keyword(s):  
Ancient Greek ◽  
Function Composition ◽  
Philosophical School ◽  
Human Happiness ◽  
Aesthetic Properties ◽  
Definition Of

The monograph aims to show that the Stoa, an ancient Greek philosophical school, made a substantial line of enquiry into the nature of aesthetic properties, and thus there are good reasons to analyse and discuss the sub-field of the Stoic thought that could be called ‘Stoic aesthetics.’ This study of Stoic views on beauty begins with the question of indifferents and the challenge it poses for aesthetics. The controversial Stoic theory of values states that ‘beauty’ is one of the so-called indifferents, that is, the things that do not contribute to human happiness and therefore ought not to be treated as the good. It is argued that a thorough reading of the material shows that beauty is not treated as irrelevant in general; the evidence only shows that beauty is an inferior value to virtue. This leaves the possibility of theorising aesthetic objects. This leads to a systematic interpretation of Stoic aesthetics by looking at other pieces of extant evidence where beauty is mentioned, including the argument ‘that only the beautiful is the good’, theological arguments, the claim that only the wise man is beautiful and the Stoic definition of beauty as summetria. The latter, it is argued, is a succinct formulation of the idea that beauty is a function composition, and this idea has emerged in the previous discussions of various arguments involving aesthetic terms. The monograph ends with a discussion of the Stoic views in ancient Greek philosophical context.

A Mock-up for the Development of a Digital Edition for Ancient Greek Fragmentary Poetry

2019 ◽  
Vol 8 (2) ◽  
pp. 41-57
Author(s):  
Alberto Eugenio Stefanini ◽  
Anika Nicolosi ◽  
Monica Monachini
Keyword(s):  
User Interface ◽  
University Students ◽  
Cultural Heritage ◽  
User Evaluation ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Digital Edition ◽  
Study Support

Ancient Greek poetry is an essential part of the western cultural heritage; thus, it is important that people have access to its texts and whatever relates to their understanding in a reliable and easy way. Whenever user evaluation is concerned, mock-ups are used by designers to acquire feedback from users. A mock-up is defined as a model of the final product, and may be used for demonstration, evaluation and other purposes. The authors prototyped a mock-up for focusing on the requirements of a scholarly digital edition of Archilochus. This was put under evaluation to assess its usability: it was submitted to extensive use and testing by a sample of prospective users, to better focus on the requirements from a product's perspective. Experimentation involved a group of university students, attending a Greek Philology course at Parma University. More than half of the respondents considered the mock-up a useful study support. The evaluation also pointed out that the mock-up had to be revised, so as to guarantee better cognitive simplicity of the user interface.

scholarly journals Unapprehended relations

2020 ◽  
Vol 12 (1) ◽  
pp. 109-127
Author(s):  
Tom Phillips
Keyword(s):  
Literary History ◽  
Social Role ◽  
Moral Imagination ◽  
Classical Literature ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Poetic Practice ◽  
The Relationship

Abstract This article addresses P.B. Shelley’s ‘Hymn to Mercury’ and allusions to classical literature in ‘Ode to Liberty’. Congruities emerge between Shelley’s poetic practice, his conception of poetry’s social role, and his understanding of the relationship between antiquity and the present. When translating and reshaping ancient Greek poetry, he brings to the surface morally significant features of that poetry which only emerge in the dialogues that his writing creates. In doing so, he enacts literary history as a process that both reflects and enables expansions of the moral imagination.

scholarly journals SUNG POEMS AND POETIC SONGS: HELLENISTIC DEFINITIONS OF POETRY, MUSIC AND THE SPACES IN BETWEEN

2019 ◽  
Vol 69 (2) ◽  
pp. 597-615
Author(s):  
Spencer A. Klavan
Keyword(s):  
The Other ◽  
The Political ◽  
English Speaker ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Cosmic Order ◽  
The One ◽  
The City

Simply by formulating a question about the nature of ancient Greek poetry or music, any modern English speaker is already risking anachronism. In recent years especially, scholars have reminded one another that the words ‘music’ and ‘poetry’ denote concepts with no easy counterpart in Greek. μουσική in its broadest sense evokes not only innumerable kinds of structured movement and sound but also the political, psychological and cosmic order of which song, verse and dance are supposed to be perceptible manifestations. Likewise, ποίησις and the ποιητικὴ τέχνη can encompass all kinds of ‘making’, from the assembly of a table to the construction of a rhetorical argument. Of course, there were specifically artistic usages of these terms—according to Plato, ‘musical and metrical production’ was the default meaning of ποίησις in everyday speech. But even in discussions which restrict themselves to the sphere of human art, we find nothing like the neat compartmentalization of harmonized rhythmic melody on the one hand, and stylized verbal composition on the other, which is often casually implied or expressly formulated in modern comparisons of ‘music’ with ‘poetry’. For many ancient theorists the City Dionysia, a dithyrambic festival and a recitation of Homer all featured different versions of one and the same form of composition, a μουσική or ποιητική to which λόγοι, γράμματα and συλλαβαί were just as essential as ἁρμονία, φθόγγοι, ῥυθμός and χρόνοι.

Unique Contributions of Brain Stimulation to the Study of Consciousness: Where Neuroscience Meets Philosophy

CNS Spectrums ◽  
2010 ◽  
Vol 15 (3) ◽  
pp. 154-156
Author(s):  
Stefano Pallanti
Keyword(s):  
Ancient Greek ◽  
Eyes Closed ◽  
Technical Procedure ◽  
Eyes Open ◽  
Definition Of ◽  
The Individual ◽  
The Brain ◽  
Integrated Information Theory ◽  
Field Of Inquiry ◽  
Integrated Information

True progress in understanding how experience arises from the brain has been relatively slow when viewed from a historical perspective. Recently, several technologies to study and stimulate the brain have been applied to this field of inquiry. Such progress was made only 2,500 years after the ancient Greek philosopher Parmenides first adopted a technical procedure involving the application of formal logic instruments to explore the perception of experiences.At the phenomenological level, consciousness has been referred to as “what vanishes every night when we fall into dreamless sleep and reappears when we wake up or when we dream. It is also all we are and all we have: lose consciousness and, as far as you are concerned, your own self, and the entire world dissolves into nothingness”. According to the integrated information theory, consciousness is integrated information.The term “consciousness” therefore has two key senses: wakefulness and awareness. Wakefulness is a state of consciousness distinguished from coma or sleep. Having one's eyes open is generally an indication of wakefulness and we usually assume that anyone who is awake will also be aware. Awareness implies not merely being conscious but also being conscious of something. The broad definition of consciousness includes a large range of processes that we normally regard as unconscious (eg, blindsight or priming by neglected or masked stimuli).Both sleep and anesthesia are reversible states of eyes-closed unresponsiveness to environmental stimuli in which the individual lacks both wakefulness and awareness. In contrast to sleep, where sufficient stimulation will return the individual to wakefulness, even the most vigorous exogenous stimulation cannot produce awakening in a patient under an adequate level of general anesthesia.

scholarly journals Images of Sculptures in the Poetry of Giorgis Manousakis

2016 ◽  
Vol 19 ◽  
pp. 5-14
Author(s):  
Michał Bzinkowski ◽  
Rita Winiarska
Keyword(s):  
Cultural Identity ◽  
Nobel Prize ◽  
Nobel Prize Winner ◽  
Ancient Greek ◽  
Greek Poetry ◽  
Modern Greek

The imagery of fragmentary sculptures, statues and stones appears often in Modern Greek Poetry in connection with the question of Modern Greeks’ relation to ancient Greek past and legacy. Many famous poets such as the first Nobel Prize winner in literature, George Seferis (1900-1971), as well as Yannis Ritsos (1909-1990) frequently use sculptural imagery in order to allude to, among other things, though in different approaches, the classical past and its existence in modern conscience as a part of cultural identity. In the present paper we focus on some selected poems by a well-known Cretan poet Giorgis Manousakis (1933-2008) from his collection “Broken Sculptures and Bitter Plants” (Σπασμένα αγάλματα και πικροβότανα, 2005), trying to shed some light on his very peculiar usage of sculpture imagery in comparison with the earlier Greek poets. We attempt to categorize Manousakis’ metaphors and allusions regarding the symbolism of sculptures in correlation with existential motives of his poetry and the poet’s attitude to the classical legacy.

Sign in / Sign up

Export Citation Format

Share Document