Vulnerability As a Virtue in Ancient Greek Literature and Philosophy
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HOMERIC-ILIAD.Pdf
Homeric Iliad Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power Contents Rhapsody 1 Rhapsody 2 Rhapsody 3 Rhapsody 4 Rhapsody 5 Rhapsody 6 Rhapsody 7 Rhapsody 8 Rhapsody 9 Rhapsody 10 Rhapsody 11 Rhapsody 12 Rhapsody 13 Rhapsody 14 Rhapsody 15 Rhapsody 16 Rhapsody 17 Rhapsody 18 Rhapsody 19 Rhapsody 20 Rhapsody 21 Rhapsody 22 Rhapsody 23 Rhapsody 24 Homeric Iliad Rhapsody 1 Translated by Samuel Butler Revised by Soo-Young Kim, Kelly McCray, Gregory Nagy, and Timothy Power [1] Anger [mēnis], goddess, sing it, of Achilles, son of Peleus— 2 disastrous [oulomenē] anger that made countless pains [algea] for the Achaeans, 3 and many steadfast lives [psūkhai] it drove down to Hādēs, 4 heroes’ lives, but their bodies it made prizes for dogs [5] and for all birds, and the Will of Zeus was reaching its fulfillment [telos]— 6 sing starting from the point where the two—I now see it—first had a falling out, engaging in strife [eris], 7 I mean, [Agamemnon] the son of Atreus, lord of men, and radiant Achilles. 8 So, which one of the gods was it who impelled the two to fight with each other in strife [eris]? 9 It was [Apollo] the son of Leto and of Zeus. For he [= Apollo], infuriated at the king [= Agamemnon], [10] caused an evil disease to arise throughout the mass of warriors, and the people were getting destroyed, because the son of Atreus had dishonored Khrysēs his priest. Now Khrysēs had come to the ships of the Achaeans to free his daughter, and had brought with him a great ransom [apoina]: moreover he bore in his hand the scepter of Apollo wreathed with a suppliant’s wreath [15] and he besought the Achaeans, but most of all the two sons of Atreus, who were their chiefs. -
Plato Journal
DEZ 2013 ISSN 2079-7567 I3 eISSN 2183-4105 Established 1989 http://platosociety.org/ Papers William H.F. Altman “The Missing Speech of the Absent Fourth: Reader Response and Plato’s Timaeus-Critias” David Levy, “Socrates vs. Callicles: Examination and Ridicule in Plato’s Gorgias.” Nathalie Nercam, “En tout et pour tout (Théétète 204a-210b)” Matthew Robinson, “Competition, Imagery, and Pleasure in Plato’s Republic, 1-91” Scott J. Senn, “Ignorance or Irony in Plato’s Socrates?: A Look Beyond Avowals and Disavowals of Knowledge” INTERNATIONAL PLATO SOCIETY PLATO INTERNATIONAL PL ATO Société Platonicienne JOURNALInternationale Associazione Internazionale dei Platonisti Sociedad Internacional de Platonistas Internationale Platon-Gesellschaft Imprensa da Universidade de Coimbra Coimbra Universiy Press 2 | Enicaper ficaed susta nondin is es nonim et dolore CREDITS EditOriAL BOARD INterNAtiONAL PLATO Francisco Gonzalez SOcietY EXecutiVE University of Ottawa COmmittee (2013-16) Irmgard Männlein-Robert President: Francisco Bravo Universität Tübingen Universidad Central de Venezuela Angela Ulacco President: Gabriele Cornelli Albert-Ludwigs-Universität Freiburg Universidade de Brasília Vice President: Tom Robinson ScieNtific BOArd University of Toronto Luc Brisson Ex-President: Mauro Tulli CNRS – UPR76 Centre Jean-Pépin, Paris Università degli Studi di Pisa Tomás Calvo Next President: Luc Brisson Universidad Complutense, Madrid CNRS – UPR76 Centre Jean-Pépin, Paris John Dillon Next President: Olivier Renaut Trinity College, Dublin Université Paris -
Forms of Goodness : the Nature and Value of Virtue in Socratic Ethics. Scott .J Senn University of Massachusetts Amherst
University of Massachusetts Amherst ScholarWorks@UMass Amherst Doctoral Dissertations 1896 - February 2014 1-1-2004 Forms of goodness : the nature and value of virtue in Socratic ethics. Scott .J Senn University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/dissertations_1 Recommended Citation Senn, Scott .,J "Forms of goodness : the nature and value of virtue in Socratic ethics." (2004). Doctoral Dissertations 1896 - February 2014. 2378. https://scholarworks.umass.edu/dissertations_1/2378 This Open Access Dissertation is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Doctoral Dissertations 1896 - February 2014 by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. FORMS OF GOODNESS: THE NATURE AND VALUE OF VIRTUE IN SOCRATIC ETHICS A Dissertation Presented by SCOTT J. SENN Submitted to the Graduate School of the University of Massachusetts Amherst in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2004 Department of Philosophy © Copyright by Scott J. Senn 2004 All Rights Reserved FORMS OF GOODNESS: THE NATURE AND VALUE OF VIRTUE IN SOCRATIC ETHICS A Dissertation Presented by SCOTT J. SENN Approved as to style and content by: Gareth B. Matthews, Chair C. c Vere C. Chappell, Member Department of Philosophy DEDICATION To Russell E. Senn, my first philosophy teacher ACKNOWLEDGEMENTS "I have to speak to you of one who was in many ways the greatest man that ever lived[. Thus begins an account of Platonic thought by John Burnet (1928) that inspired the work whose product is the present paper. -
The Journal of the New Alchemists 3
Journal of the New Alchemists 3 Table of Contents NEW ALCHEMY Looking Back - Na ncy jack Todd 7 The Trash Fish Cook Book - Bill McLarney and Bryce Butler 15 ENERGY An Advanced Sail-Wing for Water-Pumping Windmills - Earle Barnhart 25 Savonius Rotor - Earle Barnhart 27 Solar Collector for Heating Water - Earle Barnhart 30 Earth Breath : Wind Power -jim Bukey 32 LAND AND ITS USE An Ark for Prince Edward Island -john Todd 41 The Shape of Things to Come: The Architects' View - Ole Hammarlund and David Bergmark 44 Confessions of a Novice Compostor - Tyro ne Cashman 45 Our Gardens... and Our Rabbits - Hilde Atema Maingay 48 Further Experiments in the Irrigation of Garden Vegetables with Fertile Fish Pond Water - William 0. McLarney 53 The World in Miniature - John Todd 54 AQUACULTURE Midge Culture - William 0. McLarney, joseph S. Levine and Marcus M. Sherman 80 A New Low - Cost Method of Sealing Fish Pond Bottoms- William 0. McLarney and ]. Robert Hu nter 85 Cultivo Experimental de Peces en Estanques - Anibal Pa tino R. 86 EXPLORATIONS Populist Manifesto .... for Poets with Love - Lawrenc,e Ferlinghetti 94 Meditation on the Dark Ages, Past and Present - William Irwin Thompson 96 Self-Health: Exploring Alternatives in Personal Health Services -Nancy Milia, Ruth Hubbard 102 Women and Ecology - Nancy ja ck Todd 107 .. · . : f ; �--... .. · . : · · · . .. · . · · . 0 'H:., i,�··®: · . ·�· i/i... ' to Restnre the lands, Protect t;he Seas, And Inform "Gho Eart"h8 SreCJIU'ds The New Alchemy Institute is a small, international organization fo r research and education on behalf of humanity and the planet. -
Aristotelian Appeals: Logos, Ethos, and Pathos
Aristotelian Appeals: Logos, Ethos, and Pathos Whenever you read an argument you must ask yourself, “Is this persuasive? If so, why? And to whom?” There are many ways to appeal to an audience. Among them are appealing to logos, ethos, and pathos. These appeals are identifiable in almost all arguments. To Appeal to LOGOS To Develop or Appeal to ETHOS To Appeal to PATHOS (logic, reasoning) (character, ethics) (emotion) : the argument itself; the reasoning the : how an author builds credibility & : words or passages an author uses to activate author uses; logical evidence trustworthiness emotions Types of LOGOS Appeals Ways to Develop ETHOS Types of PATHOS Appeals Theories / scientific facts Author’s profession / Emotionally loaded language Indicated meanings or background Vivid descriptions reasons (because…) Author’s publication Emotional examples Literal or historical analogies Appearing sincere, fair minded, Anecdotes, testimonies, or narratives Definitions knowledgeable about emotional experiences or events Factual data & statistics Conceding to opposition where Figurative language Quotations appropriate Emotional tone (humor, sarcasm, Citations from experts & Morally / ethically likeable disappointment, excitement, etc.) authorities Appropriate language for Informed opinions audience and subject Examples (real life examples) Appropriate vocabulary Personal anecdotes Correct grammar Professional format Effect on Audience Effect on Audience Effect on Audience Evokes a cognitive, rational response. Helps reader -
Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected]
Trinity University Digital Commons @ Trinity Classical Studies Faculty Research Classical Studies Department 10-2014 Theban Walls in Homeric Epic Corinne Ondine Pache Trinity University, [email protected] Follow this and additional works at: https://digitalcommons.trinity.edu/class_faculty Part of the Classics Commons Repository Citation Pache, C. (2014). Theban walls in Homeric epic. Trends in Classics, 6(2), 278-296. doi:10.1515/tc-2014-0015 This Article is brought to you for free and open access by the Classical Studies Department at Digital Commons @ Trinity. It has been accepted for inclusion in Classical Studies Faculty Research by an authorized administrator of Digital Commons @ Trinity. For more information, please contact [email protected]. TC 2014; 6(2): 278–296 Corinne Pache Theban Walls in Homeric Epic DOI 10.1515/tc-2014-0015 Throughout the Iliad, the Greeks at Troy often refer to the wars at Thebes in their speeches, and several important warriors fighting on the Greek side at Troy also fought at Thebes and are related to Theban heroes who besieged the Boeotian city a generation earlier. The Theban wars thus stand in the shadow of the story of war at Troy, another city surrounded by walls supposed to be impregnable. In the Odyssey, the Theban connections are less central, but nevertheless significant as one of our few sources concerning the building of the Theban walls. In this essay, I analyze Theban traces in Homeric epic as they relate to city walls. Since nothing explicitly concerning walls remains in the extant fragments of the Theban Cycle, we must look to Homeric poetry for formulaic and thematic elements that can be connected with Theban epic. -
Rhetorical Appeals (Or Modes of Persuasion)
Rhetorical Appeals (or modes of persuasion) The rhetorical appeals were introduced by Aristotle (382-322 B.C.) in his text Rhetoric: Of the modes of persuasion furnished by the spoken word there are three kinds. [...] Persuasion is achieved by the speaker's personal character when the speech is so spoken as to make us think him credible. [...] Secondly, persuasion may come through the hearers, when the speech stirs their emotions. [...] Thirdly, persuasion is effected through the speech itself when we have proved a truth or an apparent truth by means of the persuasive arguments suitable to the case in question. Three Appeals Ethos Proof in the Persuader (ethical appeal) Arguments based on increasing the writer or the paper’s credibility and authority o How knowledgeable and prepared is the writer Types o Referring to your skills or titles o Research from reliable sources o Personal Experience and/or interest in the topic o References to credible individuals (quotes and paraphrase) Pros: enhances writer; makes other research look better; adds new voices Cons: bias may influence; lack of expertise shows; doesn’t work by itself Pathos (the pathetic) Emotional appeals Arguments based on reactions from readers o Connects argument to reader values Types o Vivid Language (metaphor, simile, word choice) o Examples/Stories o Imagery (ex: animal rights newsletters or arguments about abortion) Pros: highly persuasive; involves readers; can lead to quick action Cons: over-emotion; easier to disprove; readers may have negative reaction Logos Logical appeals Appeals and arguments that refer to factual proof, evidence, and/or reason Types o Statistics o Examples o Cause and Effect o Syllogism (A + B = C) Pros: hard to disprove; highly persuasive; makes writer look more prepared (enhances ethos) Cons: Numbers can lie or confuse; may not intrigue reader (lack of emotion); may be inaccurate Sources to consult: Lunsford, Andrea. -
Homer – the Iliad
HOMER – THE ILIAD Homer is the author of both The Iliad and The Odyssey. He lived in Ionia – which is now modern day Turkey – between the years of 900-700 BC. Both of the above epics provided the framework for Greek education and thought. Homer was a blind bard, one who is a professional story teller, an oral historian. Epos or epic means story. An epic is a particular type of story; it involves one with a hero in the midst of a battle. The subject of the poem is the Trojan War which happened approximately in 1200 BC. This was 400 years before the poem was told by Homer. This story would have been read aloud by Homer and other bards that came after him. It was passed down generation to generation by memory. One can only imagine how valuable memory was during that time period – there were no hard drives or memory sticks. On a tangential note, one could see how this poem influenced a culture; to be educated was to memorize a particular set of poems or stories which could be cross-referenced with other people’s memory of those particular stories. The information would be public and not private. The Iliad is one of the greatest stories ever told – a war between two peoples; the Greeks from the West and the Trojans from the East. The purpose of this story is to praise Achilles. The two worlds are brought into focus; the world of the divine order and the human order. The hero of the story is to bring greater order and harmony between these two orders. -
Ethos, Pathos, and Logos Ethos
RHETORICAL APPEALS: ETHOS, PATHOS, AND LOGOS ETHOS Appeal to authority/speaker credibility/common values • Speaker uses ethos to convince audience of his/her credibility/expertise and/or moral character. • Argument is proven believable/valid by using celebrities/name dropping, referencing resume/personal experience (including title), establishing trust, and citing research. • Ethos = Greek for “character” • “Ethics” - derived from ethos ETHOS EXAMPLE PATHOS Appeal to emotion/fear/human suffering • Speaker uses pathos to invoke sympathy and cause audience to make decisions based on feelings , uses collective language (“we”, “our”), direct address (“you”), repetition, extreme/dramatic diction, sentimental/relatable examples/ anecdotes/imagery (babies, puppies, 9/11). • Pathos = Greek for “suffering” and “experience” • “Empathy” and “Pathetic” - derived from pathos PATHOS EXAMPLE LOGOS Appeal to logic • Speaker uses logos to persuade through reason/logic by presenting facts, statistics, historical and literal analogies (if…then) • Logos = Greek for “word” • True definition: “the word or that by which the inward though is expressed” • “Logic” is derived from logos LOGOS EXAMPLE ETHOS, PATHOS, OR LOGOS? Examine rhetorical appeals in following advertisements. • Analyze visual aspects (color, shading, detail, lines, lighting, position) • Determine Speaker, Occasion, Audience, Purpose, Subject, and Tone. • Identify appeals to sense of authority, emotion, and/or logic ETHOS, PATHOS, OR LOGOS? ETHOS, PATHOS, OR LOGOS? ETHOS, PATHOS, OR LOGOS? ETHOS, PATHOS, OR LOGOS? E2H OUTCOME D PRACTICE: VISUAL RHETORIC • Find an advertisement with a clear appeal to ethos, logos, pathos. • Bring to class Friday with written reflection: • Claim what appeal is prominent. Include textual evidence. What DIDLS, etc. in the visual convey that appeal? • Will share and discuss. -
Homer and Hesiod
University of Pennsylvania ScholarlyCommons Departmental Papers (Classical Studies) Classical Studies at Penn 1-1-1997 Homer and Hesiod Ralph M. Rosen University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/classics_papers Part of the Classical Literature and Philology Commons Recommended Citation Rosen, R. M. (1997). Homer and Hesiod. Retrieved from https://repository.upenn.edu/classics_papers/7 Postprint version. Published in A New Companion to Homer, edited by Barry Powell and Ian Morris, Mnemosyne: Bibliotheca classica Batava, Supplementum 163 (New York: Brill, 1997), pages 463-488. The author has asserted his right to include this material in ScholarlyCommons@Penn. This paper is posted at ScholarlyCommons. https://repository.upenn.edu/classics_papers/7 For more information, please contact [email protected]. Homer and Hesiod Abstract One of the most frustrating aspects of Homeric studies is that so little literary material outside the Homeric corpus itself survives to enhance our understanding of the cultural landscape of the period. Recent scholarship suggests that a large and diverse poetic tradition lay behind the figure we refer to as "Homer," but little of it survives. Indeed we have little continuous written Greek for another century. The one exception is Hesiod, who composed two extant poems, the Theogony and Works and Days, and possibly several others, including the Shield of Heracles and the Catalogue of Women. As we shall see, while Hesiodic poetry was not occupied specifically with heroic themes, it was part of the same formal tradition of epic, sharing with Homer key metrical, dialectal, and dictional features. -
Teacher's Edition
TEACHER’SClassical SubjectsEDITION Creatively Taught™ Rhetoric BOOK 1: PRINCIPLESAlive!Alive! OF PERSUASION PERSUASIVE SPEECH AND WRITING IN THE TRADITION OF ARISTOTLE Alyssan Barnes, PhD Dedication: To Annie, June, and Zoe Rhetoric RhetoricAlive! Book Alive! 1: PrinciplesBook 1: Principles of Persuasion of Persuasion Teacher’s Edition © Classical Academic Press, 2016 Version 1.0 ISBN: 978-1-60051-300-8978-1-60051-301-5 All rights reserved. This publication may not be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, without the prior written permission of Classical Academic Press. Classical Academic Press 2151 Market Street Camp Hill, PA 17011 www.ClassicalAcademicPress.com Content editors: Christopher Perrin, PhD; Joelle Hodge; and Stephen Barnes Editor: Sharon Berger Illustrator: David Gustafson Book designer: Robert Baddorf PGP.07.16 Table of Contents List of Figures, Tables, and Chart .................................................................................................................. vii Foreword ........................................................................................................................................................ix Acknowledgments ...........................................................................................................................................xi Note to Student ............................................................................................................................................ xii OverviewNote to Teacher -
Greek Color Theory and the Four Elements [Full Text, Not Including Figures] J.L
University of Massachusetts Amherst ScholarWorks@UMass Amherst Greek Color Theory and the Four Elements Art July 2000 Greek Color Theory and the Four Elements [full text, not including figures] J.L. Benson University of Massachusetts Amherst Follow this and additional works at: https://scholarworks.umass.edu/art_jbgc Benson, J.L., "Greek Color Theory and the Four Elements [full text, not including figures]" (2000). Greek Color Theory and the Four Elements. 1. Retrieved from https://scholarworks.umass.edu/art_jbgc/1 This Article is brought to you for free and open access by the Art at ScholarWorks@UMass Amherst. It has been accepted for inclusion in Greek Color Theory and the Four Elements by an authorized administrator of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Cover design by Jeff Belizaire ABOUT THIS BOOK Why does earlier Greek painting (Archaic/Classical) seem so clear and—deceptively— simple while the latest painting (Hellenistic/Graeco-Roman) is so much more complex but also familiar to us? Is there a single, coherent explanation that will cover this remarkable range? What can we recover from ancient documents and practices that can objectively be called “Greek color theory”? Present day historians of ancient art consistently conceive of color in terms of triads: red, yellow, blue or, less often, red, green, blue. This habitude derives ultimately from the color wheel invented by J.W. Goethe some two centuries ago. So familiar and useful is his system that it is only natural to judge the color orientation of the Greeks on its basis. To do so, however, assumes, consciously or not, that the color understanding of our age is the definitive paradigm for that subject.