Early Hellenistic Elegy: P. Sorbonn. 2254

1972 ◽  
Vol 18 ◽  
pp. 63-64
Author(s):  
Dennys Page
Keyword(s):  
Subject Matter ◽  
Third Century ◽  
Large Specimen ◽  
The Third ◽  
The World ◽  
The Subject

Apart from Callimachus, I know no new piece of Hellenistic elegy more interesting than P. Sorbonn. inv. 2254, first published by M. Papathomopoulos in Recherches de Papyrologie II and most admirably edited by Professor Barns and Professor Lloyd-Jones in SIFC xxxv, 205 ff.Lloyd-Jones proves, I believe beyond question, two points:(a) That this elegy belongs to the world as it was before Callimachus; it is only our fourth large specimen of the literary elegy from the early part of the third century, the others being the long extracts from Hermesianax, Phanocles and Alexander Aetolus most conveniently read in Powell's Collectanea Alexandrina.(b) That the subject-matter is of a very unusual nature; the lines are ‘spoken by an unknown person threatening an enemy with a punishment quite out of the ordinary’ – viz. with tattooing on his skin the images of punishments suffered by notorious legendary sinners. The poet's enemy is to be tattooed with a picture of the stone of Tantalus, with another of the Calydonian boar sent to punish Oeneus, and with at least one other (there is a fragmentary second column, one line beginning στίξ[ω).

Aspects of Iconography in Romano-British Mosaics: the Rudston ‘Aquatic’ Scene and the Brading Astronomer Revisited

Britannia ◽  
2006 ◽  
Vol 37 ◽  
pp. 295-336 ◽  
Author(s):  
R.J.A. Wilson
Keyword(s):  
Subject Matter ◽  
Fourth Century ◽  
The Other ◽  
Third Century ◽  
North African ◽  
Dominant Position ◽  
Central Figure ◽  
The Third ◽  
Adjacent Room ◽  
The Subject

ABSTRACTThe fourth-century Rudston ‘aquatic’ mosaic is likely to show Oceanus at the centre rather than Neptune, and the dominant position of the head on the floor suggests that the inspiration for it derives, however remotely, from North African models where the scene was common. This is made more plausible by the fact that African influence, as is well known, is also detectable on the famous Venus mosaic by the same mosaicist in an adjacent room in the same building. At Brading, the central figure in the main reception room – a half-naked man with stick, globe and sundial – is identified, not just as a generic ‘philosopher’ type, but specifically as the third-century B.C. astronomer and poet, Aratus, on the basis of comparanda on mosaics, tapestry, silverware and in an illustrated manuscript of his work, thePhaenomena. It is further suggested that the key to reading the damaged larger part of the Brading floor above Aratus might be a Latin translation of his work, possibly that by Avienusc.A.D. 350, if the mosaic is indeed approximately of that date rather than earlier, and that the subject-matter of the panels alluded to constellations described in the poem. A very tentative attempt is made to identify what might have been depicted in the panels, on the basis of the mythology behind the constellations as explained in Latin adaptations of the poem: those of Perseus and Andromeda are illustrated in the surviving panel, and possibly Phaethon and Eridanus, Hercules and the serpent in the Garden of the Hesperides, and conceivably Pegasus at a spring were shown in the other three. It is also suggested that these unusual scenes might have been based on an illustrated manuscript of the work in the possession of thedominusat Brading. Be that as it may, the mosaic does appear to provide further evidence of the depth of classical learning displayed by at least some members of the Romano-British rural élite in the fourth century A.D.

Historical Fragments’ Mobile Echo

Transfers ◽  
2017 ◽  
Vol 7 (2) ◽  
pp. 115-119 ◽  
Author(s):  
Susan E. Bell ◽  
Kathy Davis
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Eighteenth Century ◽  
Cultural Revolution ◽  
Ming Dynasty ◽  
Third Century ◽  
Refugee Crisis ◽  
The Third ◽  
Opium War ◽  
The Subject

Translocation – Transformation is an ambitious contribution to the subject of mobility. Materially, it interlinks seemingly disparate objects into a surprisingly unified exhibition on mobile histories and heritages: twelve bronze zodiac heads, silk and bamboo creatures, worn life vests, pressed Pu-erh tea, thousands of broken antique teapot spouts, and an ancestral wooden temple from the Ming dynasty (1368–1644) used by a tea-trading family. Historically and politically, the exhibition engages Chinese stories from the third century BCE, empires in eighteenth-century Austria and China, the Second Opium War in the nineteenth century, the Chinese Cultural Revolution of the mid-twentieth century, and today’s global refugee crisis.

Delving into Horror

2019 ◽  
Vol 29 (5) ◽  
pp. 135-150
Keyword(s):  
The Self ◽  
Time And Space ◽  
The Third ◽  
The World ◽  
The Subject ◽  
Perception Of Time ◽  
Definition Of

The springboard for this essay is the author’s encounter with the feeling of horror and her attempts to understand what place horror has in philosophy. The inquiry relies upon Leonid Lipavsky’s “Investigation of Horror” and on various textual plunges into the fanged and clawed (and possibly noumenal) abyss of Nick Land’s work. Various experiences of horror are examined in order to build something of a typology, while also distilling the elements characteristic of the experience of horror in general. The essay’s overall hypothesis is that horror arises from a disruption of the usual ways of determining the boundaries between external things and the self, and this leads to a distinction between three subtypes of horror. In the first subtype, horror begins with the indeterminacy at the boundaries of things, a confrontation with something that defeats attempts to define it and thereby calls into question the definition of the self. In the second subtype, horror springs from the inability to determine one’s own boundaries, a process opposed by the crushing determinacy of the world. In the third subtype, horror unfolds by means of a substitution of one determinacy by another which is unexpected and ungrounded. In all three subtypes of horror, the disturbance of determinacy deprives the subject, the thinking entity, of its customary foundation for thought, and even of an explanation of how that foundation was lost; at times this can lead to impairment of the perception of time and space. Understood this way, horror comes within a hair’s breadth of madness - and may well cross over into it.

Introduction

2018 ◽  
Author(s):  
Gerhard Preyer
Keyword(s):  
Subject Matter ◽  
Diverse Range ◽  
The World ◽  
The Subject ◽  
The Relationship

The study of meaning in language embraces a diverse range of problems and methods. Philosophers think through the relationship between language and the world; linguists document speakers’ knowledge of meaning; psychologists investigate the mechanisms of understanding and production. Up through the early 2000s, these investigations were generally compartmentalized: indeed, researchers often regarded both the subject matter and the methods of other disciplines with skepticism. Since then, however, there has been a sea change in the field, enabling researchers increasingly to synthesize the perspectives of philosophy, linguistics, and psychology and to energize all the fields with rich new intellectual perspectives that facilitate meaningful interchange. One illustration of the trend is the publication of Lepore and Stone’s ...

Prayer as the “Lifeline of Theology”

2016 ◽  
Vol 98 (2) ◽  
pp. 271-283
Author(s):  
Marilyn McCord Adams
Keyword(s):  
Subject Matter ◽  
Christian Communities ◽  
The World ◽  
The Subject ◽  
Partnership Models ◽  
Human Family

The thesis of this essay is that—before writing—theologians should get to know their subject matter. Prayer is the lifeline of theology, because God is the subject matter of theology and prayer is our way of being in the world with God. Developing this idea first with human family and partnership models brings out how multifaceted prayer is, and how it is a way of being in the world not only for individuals but for Christian communities. Applying these observations to the task of theology, the essay attempts to clarify the thesis by answering the charge that it makes theology perniciously subjective.

Bullshit, trust, and evidence

2021 ◽  
Vol 18 (5) ◽  
pp. 633-656
Author(s):  
Adrian Briciu
Keyword(s):  
Theoretical Analysis ◽  
Subject Matter ◽  
Harry Frankfurt ◽  
The Third ◽  
Main Fault ◽  
The Subject ◽  
Epistemic Standards ◽  
Adequate Evidence

Abstract It has become almost a cliché to say that we live in a post-truth world; that people of all trades speak with an indifference to truth. Speaking with an indifference to how things really are is famously regarded by Harry Frankfurt as the essence of bullshit. This paper aims to contribute to the philosophical and theoretical pragmatics discussion of bullshit. The aim of the paper is to offer a new theoretical analysis of what bullshit is, one that is more encompassing than Frankfurt’s original characterization. I part ways with Frankfurt in two points. Firstly, I propose that we should not analyze bullshit in intentional terms (i.e. as indifference). Secondly, I propose that we should not analyze it in relation to truth. Roughly put, I propose that bullshit is best characterized as speaking with carelessness toward the evidence for one’s conversational contribution. I bring forward, in the third section, a battery of examples that motivate this characterization. Furthermore, I argue that we can analyze speaking with carelessness toward the evidence in Gricean terms as a violation of the second Quality maxim. I argue that the Quality supermaxim, together with its subordinate maxims, demand that the speaker is truthful (contributes only what she believes to be true) and reliable (has adequate evidence for her contribution). The bullshitter’s main fault lies in being an unreliable interlocutor. I further argue that we should interpret what counts as adequate evidence, as stipulated by the second Quality Maxim, in contextualist terms: the subject matter and implicit epistemic standards determine how much evidence one needs in order to have adequate evidence. I contrast this proposed reading with a subjectivist interpretation of what counts as having adequate evidence and show that they give different predictions. Finally, working with a classic distinction, I argue that we should not understand bullshit as a form of deception but rather as a form of misleading speech.

Global Distributive Justice

2018 ◽  
pp. 102-117
Author(s):  
Simon Caney
Keyword(s):  
Distributive Justice ◽  
Empirical Research ◽  
Subject Matter ◽  
World Economy ◽  
Deep Understanding ◽  
Global Politics ◽  
Global Level ◽  
Global Distributive Justice ◽  
The World ◽  
The Subject

This chapter explores the relevance of facts and empirical enquiry for the normative project of enquiring what principles of distributive justice, if any, apply at the global level. Is empirical research needed for this kind of enquiry? And if so, how? Claims about global distributive justice often rest on factual assumptions. Seven different ways in which facts about national, regional and global politics (and hence empirical research into global politics) might inform accounts of global distributive justice are examined. A deep understanding of the nature of global politics and the world economy (and thus empirical research on it) is needed: to grasp the implications of principles of global distributive justice; to evaluate such principles for their attainability and political feasibility; to assess their desirability; and, first, to conceptualize the subject-matter of global distributive justice and to formulate the questions that accounts of global distributive justice need to answer.

Sex Differences in Children's Art

1982 ◽  
Vol 164 (3) ◽  
pp. 271-289 ◽  
Author(s):  
Karen McNiff
Keyword(s):  
Sex Differences ◽  
Subject Matter ◽  
School Adjustment ◽  
Children's Art ◽  
Artistic Activity ◽  
Psychological Differences ◽  
The World ◽  
Research Findings ◽  
Trends Over Time ◽  
The Subject

This paper examines the similarities and differences in the art of boys and girls aged six, seven, and eight. It is primarily concerned with the ways in which the subject matter of the children's art reflects sex differences in interests, introspective thought, and symbolic organization of the world. The methodology, based on the spontaneous art experience, seeks to establish that artistic activity is a viable medium through which information on the non-discursive aspects of children's thought can be obtained. Over 1800 drawings, done by 26 children, were collected. The content of the drawings was examined for its range of subject matter and for thematic trends over time. It was found that girls and boys consistently portray very different subjects. The children's art did not present stereotypic images of sex roles nor could the contrasts be specifically attributed to genetic, social, or psychological differences between the sexes, although there was some correlation with the research findings in those areas. It was concluded that girls and boys have very different expressive interests and needs which are not fully incorporated into their educational environment and which affect all areas of school adjustment.

scholarly journals Słownictwo dotyczące świata fauny i flory w Symbolice wiosennej Stefanii Ulanowskiej

2021 ◽  
pp. 60-72
Author(s):  
Małgorzata Andrejczyk
Keyword(s):  
Rural Communities ◽  
Subject Matter ◽  
Reconstructed Image ◽  
Linguistic Knowledge ◽  
Mental Processes ◽  
The World ◽  
The Subject ◽  
Selection Of

The object of interest in this sketch is an analysis of the vocabulary indicating selected elements of the world of fauna and fl ora in Symbolika wiosenna (Spring symbolism) by Stefania Ulanowska (Kraków 1884). The collected language material is characterised by wealth and complexity of the subject matter. The indicated vocabulary has not been characterised yet. This paper employs elements of the cognitivist description of language. The selection of this method enables depiction of the relation between linguistic knowledge and encyclopaedic knowledge. Language becomes an indispensible element of mental processes of the perception of the world (Tokarski 1995; Miodunka 1980). The analysis of the excerpted material clearly shows that the discussed spring symbolism usually invokes, contrary to the prototype, the semantic fi eld related to ‘śmierć’ (death) rather than ‘życie’ (life). The reconstructed image of the folk idea of spring largely deviates from the ideas established in the consciousness of language users in general, which is confi rmed by the discussed examples. It presents unit connotations that are individualised and present in the consciousness of members of small rural communities of those times. Keywords: Stefania Ulanowska – vocabulary of fauna and flora

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