Philosophy in the Narrative Mode

Histories of Arabic and Islamic philosophy tend to focus on texts which are systematic in nature and conventionally classified as philosophy or related scholarly disciplines. Philosophical principles, however, are also defining features of texts associated with other genres. Within the larger field of philosophy, this might be especially true of ethics and within the larger body of literature this might be especially the case for stories. Indeed, it is sometimes argued that the very purpose of storytelling is to reinforce and disseminate moral conventions. Likewise, the moral philosopher can be conceptualized as a homo narrans.The aim of this contribution is to apply the approach to narratives as a mode of debating ethical or moral principles to biographies of Alexander the Great. More than any other figure of the classical world, Alexander was religiously validated in the Islamic tradition due to his quasi-prophetic status as the ‘man with the two horns’ in the Qur’an. He appears prominently in the larger orbit of Arabic and Islamic philosophy as interlocutor and disciple of Aristotle and is adduced anecdotally in philosophical literature as an example to teach larger lessons of life. As a world conqueror, he provided an attractive model for those who sought to reconcile philosophical insight with worldly ambition.Focusing on biographies of Alexander, this article explores ethical principles which are inscribed in this body of literature and thus reads the texts as a narrativized form of philosophy. The analysis is comparative in two ways. Biographies of different periods and regions of the Islamicate world will be discussed, but comparisons with pre-Islamic biographies of Alexander (notably Roman biographies and the Alexander Romance) are included as well.

Antropological Concept in Mystical Poetry of Parvin Etesami

The essay reflects on the creativity of Parvin Etesami (1907 – 1941), a distinguished Persian poet, little known abroad. We highlight anthropological teaching based on the religious worldview as one of the aspects of her mystical poetry. Created in the era when Persian literature and its classical tradition were breaking, Parvin’s poems affirm loyalty to the mystical tradition and the ways of self-creation of an individual laid down in it. The article shows that the Muslim science of behavior guides a person striving for wisdom and determines their path. The preaching of morality in Parvin’s poems, coupled with her mystical enlightenment, attempts to return her contemporaries to the classical world of their tradition. This research investigates the concept of man and is based on the only collection of 60 poems published in Russian (Journey of Tears, 1984), as well as on the new poetic translations. Two of the poems translated by M. Yahyapour and M. L. Reysner are introduced to the readers for the first time. The paper describes different facets of personality and fate, found in poetic self-reflection, the most significant of which is Parvin’s Auto-Epitaph. The values corresponding to Parvin’s spiritual personality are revealed: purity of soul, strictness, restraint, intellectualism, moral seriousness. Following the Sufi teachings about men, Parvin criticizes deviations from the true path —such as susceptibility to passions and pride. The poet considers them the destroyers and believes that they occur because of the evil forces distorting the human soul. The poet proposes a way out for the soul captured by the world — the knowledge of the Truth and the appeal to the experience of the righteous. The essay demonstrates that in Parvin’s poetry, fidelity to a thousand-year-old spiritual tradition and individual creativity appear as an organic unity. In the era that leads a person of the West and the East away from the spiritual roots of culture, the poet becomes a gnostic and a mystic in his individual creative life and, abandoning modern trends, consciously takes the path of mystical enlightenment and brings to her readers the wisdom found on these paths.

A Smooth Path between the Classical Realm and the Quantum Realm

A simple example of classical physics may be defined as classical variables, p and q, and quantum physics may be defined as quantum operators, P and Q. The classical world of p&q, as it is currently understood, is truly disconnected from the quantum world, as it is currently understood. The process of quantization, for which there are several procedures, aims to promote a classical issue into a related quantum issue. In order to retain their physical connection, it becomes critical as to how to promote specific classical variables to associated specific quantum variables. This paper, which also serves as a review paper, leads the reader toward specific, but natural, procedures that promise to ensure that the classical and quantum choices are guaranteed a proper physical connection. Moreover, parallel procedures for fields, and even gravity, that connect classical and quantum physical regimes, will be introduced.

Visitors to Leuke Island

This article is the publication of the plates compiled by N.N. Murzakevich, secretary of the Odessa Society for History and Antiquities. It contains tracings of 241 Classical coins and lists of coin finds from the island of Fidonisi (known as Leuke in antiquity), which had been excavated in the 1840s and early 1850s. Recent data have led to a doubling of the list of Greek centres (up to 202) and the rulers of a number of states and peoples, whose coins made their way to the island. Details of these finds and the dates of the emissions illustrate clearly the development and chronological framework of the religious and economic ties between the northern coast of Pontus with the various regions of the Classical oikumene. The geographical range of the coin finds (from Magna Graecia, Sicily and the Levant to the Aegean, the Balkans, the Pontic region and Asia and as far away as Mesopotamia) demonstrates that the sanctuary of Achilles on the island of Leuke situated at a meeting point of Black Sea trade routes, enjoyed enormous popularity in the Classical world. The publication of these plates compiled by N.N. Murzakevich makes available new information on the maritime trade in the Pontus area between the 5th century BC and the 5th century AD.

"Shaking His Hairy Chaps": The Iconography of Bearded Snakes

<p>The bearded snake is an unusual motif that appears in a variety of contexts and media throughout the Classical world. It is used in Greek, Etruscan, Roman, and Egyptian art and literature. This thesis addresses the Greek use of the bearded snake. The beard of the snake, much like the beard of a human figure, varies in terms of its size, shape, and level of detailing. It may be a simple single line or a series of long, clearly defined hairs. The use of this human feature on serpents has received minimal attention. When the motif is discussed it is generally only considered in terms of its use in one context, such as on depictions of Zeus Meilichios or on the Lakonian hero reliefs. The aim of this thesis is to discuss the use of the bearded snake in the most common contexts in which it may occur in order to provide a better understanding of the meaning of this unusual motif. Such contexts include anguiform deities, pure serpents, hybrid creatures, and attributes of monsters and deities. Two of the more influential explanations of the use of the beard are those by Aelian, from the third century AD, and Jane Harrison, from 1903. These interpretations consider the bearded snake in slightly different terms. Where Aelian believes the beard to indicate a male serpent, Harrison considers the feature to be a means through which the snake is implied to be an anthropomorphic deity. Chapter One provides the background interpretations of the snake and the beard as distinct motifs. The findings from this chapter will form the basis for the interpretations given in Chapters Two and Three. Chapter Two considers the flaws of Aelian’s explanation of the beard as an indicator of gender, by looking at the use of the beard in the context of divine and monstrous women such as Medusa and Athena. Chapter Three addresses Harrison’s anthropomorphic argument, by considering both anguiform and non-anguiform figures. This will provide a wider range of contexts than either Aelian or Harrison discuss. In doing so, I intend to consider the meaning of the bearded snake using a considerably larger range of sources, in order to give the best possible explanation for this unusual motif.</p>

"Shaking His Hairy Chaps": The Iconography of Bearded Snakes

<p>The bearded snake is an unusual motif that appears in a variety of contexts and media throughout the Classical world. It is used in Greek, Etruscan, Roman, and Egyptian art and literature. This thesis addresses the Greek use of the bearded snake. The beard of the snake, much like the beard of a human figure, varies in terms of its size, shape, and level of detailing. It may be a simple single line or a series of long, clearly defined hairs. The use of this human feature on serpents has received minimal attention. When the motif is discussed it is generally only considered in terms of its use in one context, such as on depictions of Zeus Meilichios or on the Lakonian hero reliefs. The aim of this thesis is to discuss the use of the bearded snake in the most common contexts in which it may occur in order to provide a better understanding of the meaning of this unusual motif. Such contexts include anguiform deities, pure serpents, hybrid creatures, and attributes of monsters and deities. Two of the more influential explanations of the use of the beard are those by Aelian, from the third century AD, and Jane Harrison, from 1903. These interpretations consider the bearded snake in slightly different terms. Where Aelian believes the beard to indicate a male serpent, Harrison considers the feature to be a means through which the snake is implied to be an anthropomorphic deity. Chapter One provides the background interpretations of the snake and the beard as distinct motifs. The findings from this chapter will form the basis for the interpretations given in Chapters Two and Three. Chapter Two considers the flaws of Aelian’s explanation of the beard as an indicator of gender, by looking at the use of the beard in the context of divine and monstrous women such as Medusa and Athena. Chapter Three addresses Harrison’s anthropomorphic argument, by considering both anguiform and non-anguiform figures. This will provide a wider range of contexts than either Aelian or Harrison discuss. In doing so, I intend to consider the meaning of the bearded snake using a considerably larger range of sources, in order to give the best possible explanation for this unusual motif.</p>

Signs and premonitions for Alexander's reign

This work focuses on the analysis of a series of famous episodes that underline the prodigious birth and the exceptional destiny of Alexander the Great. First, the article examines the accounts of the Macedonian king's conception, due to the union of his mother Olympias with the king/magician Nectanebo, or with a snake, or with the god Ammon – depending on the different versions. Subsequently, the stories of the oracles foretelling Alexander's domination over the world and the premonitions that mark his rise to power are analyzed. Finally, the death omens are also taken into account. Summing up, this study deals with the elements related to Alexander's mythology and the reasons why the literary sources of the classical world present him as a being halfway between human and divine.

Blessings for the sailors. The cult of the Great Gods of Samothrace in the Mediterranean context between the Hellenistic and Roman Ages

The aim of this paper is to underline some cultic features of the cult of the Great Gods of Samothrace, in its development between Hellenistic and Roman Age. In this regard, we analyze the mythological background of this cult, with particular reference to Trojan war and Aeneas saga and the influences on the cultic performances and ideology in Roman age. Our main goal is to show, through an analysis of the different syncretic cults (Dioskuroi, Penates, Lares) and the archaeological data, how the metaphors of sea and sailing influenced the transmission of this soteriological cult in Rome and how these cultural changes represent a weighty argument to demonstrate the very important revolution introduced by the Samothracian cult in the religious thought of classical world.

BLACK SWAN DOWN: BRITAIN’S ROMAN PAST AND A NEW BARBARITY

В центре статьи — интернет-скандал, вызванный образовательным мультфильмом о жизни в римской Британии, подготовленным по заказу BBC. Бурное обсуждение цвета кожи главных героев, начатое консервативным публицистом Полом Уотсоном, довольно быстро переросло в своеобразное столкновение в общественном дискурсе двух образов Рима и его наследия: мультикультурного, противоречивого, глобалистского мира и цивилизованной империи белых людей, несущих свет культуры диким варварам. В этом столкновении, как представляется автору статьи, ярко проявляет себя «новое варварство», невежественное с точки зрения современной науки и оперирующее историческими стереотипами. Его характерная черта — попытка присвоить себе наследие римской цивилизации (и шире — всю Античность), чтобы оправдать несправедливость и неравенство современного общества. Это, в свою очередь, вызывает резкую реакцию со стороны западного (не только британского) академического сообщества, которое активно борется за гегемонию в общественном дискурсе. Таким образом, Рим (а точнее — образ римской цивилизации) оказывается одновременно триггером появления варварства и способом его преодоления. A paper is focused on the twitter storm started because of the BBC educational cartoon about life in Roman Britain. The heated debate was provoked by the issue of the skin color of main character of the cartoon, but soon the discussion transformed into a collision between two images of Rome and her legacy. One image depicts Rome as a multicultural, complex, globalized world, another — as a civilized empire of white people who bring the torch of culture to savage barbarians. This collision makes ‘a new barbarity’, ignorant and armed with stereotypes, visible. One of the specific features of this barbarity is that it tries to seize the legacy of Roman civilization (and of all Classical world) and use it to justify injustice and inequality of modern society. It provokes a reaction from western (not British exclusively) academic community, actively fighting for the hegemony over the public discourse. Therefore, an image of Roman civilization becomes a trigger for the appearance of the barbarism as well as the way to overcome this barbarism.