HEAD-FAKE: TWO JOKES IN LUCRETIUS 3.136–50

2019 ◽  
Vol 69 (2) ◽  
pp. 903-904
Author(s):  
Michael McOsker

Towards the beginning of Book 3, Lucretius starts his description of the soul. According to Epicurus, the soul is divided into two, an irrational part, which is coextensive with the body, and a rational part, the ‘mind’, which is located in the chest. This position is a relic from an earlier, non–philosophical tradition, and was adopted by several different philosophers. But Alexandrian doctors would soon correctly locate the mind in the head, and later Epicureans would have to defend an increasingly uncomfortable and out-of-date position.

Author(s):  
Stephen Menn ◽  
Justin E. H. Smith

Anton Wilhelm Amo (c. 1703–after 1752) is the first modern African philosopher to study and teach in a European university and write in the European philosophical tradition. This book provides an extensive historical and philosophical introduction to Amo’s life and work, and provides Latin texts, with facing translations and explanatory notes, of Amo’s two philosophical dissertations, On the Impassivity of the Human Mind and the Philosophical Disputation containing a Distinct Idea of those Things that Pertain either to the Mind or to our Living and Organic Body, both published in 1734. The Impassivity is an extended argument that the mind cannot be acted on, that sensation is a being-acted-on by the sensed object, and therefore that sensation does not belong to the mind, and must belong instead to the body. The Distinct Idea works out the implications for the mind’s actions, and tries to show how the mind understands, wills, and effects things through the body by ‘intentions’ which direct motions in our body intentionally toward external things. Both dissertations try to show how far each type of human act belongs to the mind, how far to the body, and expose and resolve earlier philosophers’ self-contradictions on these questions.


2018 ◽  
Vol 32 (1) ◽  
pp. 30-42 ◽  
Author(s):  
Claudia Traunmüller ◽  
Kerstin Gaisbachgrabner ◽  
Helmut Karl Lackner ◽  
Andreas R. Schwerdtfeger

Abstract. In the present paper we investigate whether patients with a clinical diagnosis of burnout show physiological signs of burden across multiple physiological systems referred to as allostatic load (AL). Measures of the sympathetic-adrenergic-medullary (SAM) axis and the hypothalamic-pituitary-adrenal (HPA) axis were assessed. We examined patients who had been diagnosed with burnout by their physicians (n = 32) and were also identified as burnout patients based on their score in the Maslach Burnout Inventory-General Survey (MBI-GS) and compared them with a nonclinical control group (n = 19) with regard to indicators of allostatic load (i.e., ambulatory ECG, nocturnal urinary catecholamines, salivary morning cortisol secretion, blood pressure, and waist-to-hip ratio [WHR]). Contrary to expectations, a higher AL index suggesting elevated load in several of the parameters of the HPA and SAM axes was found in the control group but not in the burnout group. The control group showed higher norepinephrine values, higher blood pressure, higher WHR, higher sympathovagal balance, and lower percentage of cortisol increase within the first hour after awakening as compared to the patient group. Burnout was not associated with AL. Results seem to indicate a discrepancy between self-reported burnout symptoms and psychobiological load.


2019 ◽  
Vol 37 (2) ◽  
pp. 206-219
Author(s):  
Meindert E. Peters

Friedrich Nietzsche's influence on Isadora Duncan's work, in particular his idea of the Dionysian, has been widely discussed, especially in regard to her later work. What has been left underdeveloped in critical examinations of her work, however, is his influence on her earlier choreographic work, which she defended in a famous speech held in 1903 called The Dance of the Future. While commentators often describe this speech as ‘Nietzschean’, Duncan's autobiography suggests that she only studied Nietzsche's work after this speech. I take this incongruity as a starting point to explore the connections between her speech and Nietzsche's work, in particular his Thus Spoke Zarathustra. I argue that in subject and language Duncan's speech resembles Nietzsche's in important ways. This article will draw attention to the ways in which Duncan takes her cues from Nietzsche in bringing together seemingly conflicting ideas of religion and an overturning of morality; Nietzsche's notion of eternal recurrence and the teleology present in his idea of the Übermensch; and a renegotiation of the body's relation to the mind. In doing so, this article contributes not only to scholarship on Duncan's early work but also to discussions of Nietzsche's reception in the early twentieth century. Moreover, the importance Duncan ascribes to the body in dance and expression also asks for a new understanding of Nietzsche's own way of expressing his philosophy.


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