Agalma

This article is a continuation of the article published in the previous issue of Gephyra (Staab – Akyürek Şahin – Uzunoğlu 2023). The article analyses an inscription from the village of Ah-metler in the Pazaryeri district of Bilecik province, which was recorded by the Bilecik Museum authorities. The stone is not in the Bilecik Museum today but is probably still in the wall where it was built. The inscription was read from the photograph taken by the museum authorities, but the stone itself was not seen. The inscription is an epigram written in hexameter verse. The first two lines of the epigram are missing and probably remained under the cement on the wall. However, the rest of the lines are almost complete except line 1, which is poorly preserved. Since the stone was built into a wall, it is not clear whether the inscription carrier was an altar or a stele.
The person named Onesikrates, mentioned in lines 3 and 4 of the inscription, played an im-portant role in this inscription. This person is the uncle of Hermias, the young Onesikrates and Ulpianus. It is understood that the uncle Onesikrates was the head of the family group mentioned in the poem. It is not known whether he took over the care of his nephews after the death of their father and whether they therefore all belonged to the same household. In any case, here as elsewhere, third-degree kinship reflects close family ties, especially in rural social structures. The uncle Onesicrates, who was also a soldier, appears as a central figure, and all the nephews mentioned are included in his oath or prayer. In line 4, the addressee, addressed in the second person (σύ θ᾿), must be the (local?) deity of the (local?) sanctuary of Dabla, to whom the wish to bestow property on the named individuals is expressed. It is known from the inscriptions that Zeus Bennios or Zeus Bronton was worshipped in this region. This inscription may have been erected in the sanctuary of one of these two gods. The article analyses the phrase Δαβλόνῳ παρὰ νηῷ in line 9 of the inscription and suggests that the name of the settlement may be Dabla. The inscription poetically describes the full financing of the three sacrificial feasts. The poem itself is thus identified as an expression of this praise for the donors.

The international colloquium “The precious object: a total social fact? [L'objet précieux : un fait social total ?]” (Paris, INHA, April 25 and 26, 2024) invites researchers active in all fields of the social sciences to discuss these paths of research. This initiative, part of a wider EHESS-Cartier cooperation, aims to stimulate a wide-ranging reflection on this cross-disciplinary theme par excellence.

Architectural prestige relies on a notion that, unlike beauty, utility, or construction, has remained in the shadows of theoretical discourse. In the cradle of Western architecture, at a time when the art of building was above all else an offering, architecture's dignity came into light when a colonnade beneath a pediment revealed the face of the Hellenic temple. Over centuries, the potent figure of the portico has left so deep an impression on the imagination that it endures as a powerful sign of dignity, to the benefit of princes, bishops, or the collective.

Diotima nos habla de lo verdaderamente bello ," Eudamonia" , con este nombre se denomina lo único , lo que corresponde al ser realmente y efectivamente que se presenta frente al ojo del espíritu es la eudaimonía , la belleza eterna y divina ." Solo la naturaleza y el ser humano le han revelado la belleza , como lo divino .Pero lo divino , lo verdadero , el ser lo reconoció primero en lo bello , una vez se le había satisfecho su ansiedad por lo absoluto , por aquello que es encantador para sí mismo , tal como Platon lo había nombrado en su obra "Lisis" , cuando era un adolescente .Delante del ojo del espíritu se le revela la belleza eterna y divina , se había logrado la "Eudamonie" , y el beneficio del momento era imperecedero .Era una vivencia de un esclarecimiento repentino , así lo confesara en su carta grande , como anciano .Sin embargo debe haber aprendido , mediante la dialéctica , el saber sobre las formas eternas , que le mostraron el ser como apartado del remolino de la evolución ; pero la dialéctica llevaba por el buen camino , aunque no hacia la meta .Para esto tuvo que ocurrir un esclarecimiento repentino.Reconociendo lo eterno como lo bello , la ansiedad de su corazon se cumplia , y todos los sentimientos sensuales laberinticos recibirian consagración y justificación a la vez , no era necesario expulsarlos mediante ascética , como concupiscencia maligna , en cambio se les integrará en la autoeducación y la conducta psíquica al servicio de lo divino.

En este trabajo comparo el vínculo erótico entre el filósofo y su joven amado, tal como es descripto en Fedro 249b-256b, con la relación retórica que el sofista establece con el pueblo, según Sofista 232b-236d y 265a-268d. Postulo que se trata de dos casos estructuralmente análogos de producciones miméticas. El primero da como resultado un ágalma, (estatua sagrada), mientras que el segundo genera un phántasma (simulacro). Identifico las semejanzas y diferencias entre los elementos que participan de cada producción, para concluir poniendo en cuestión la pretendida inocuidad de la erótica filosófica, así como la supuesta nocividad de la retórica sofística.In this paper I compare the erotic bond between the philosopher and his young beloved, as described in Phaedrus 249b-256b, with the rhetorical relationship established between the sophist and the people, as described in Sophist 232b-236d and 265a-268d. I postulate that these are two structurally analogous cases of mimetic production....

This article examines the well from which learning, teaching, and research originate. It investigates how to perform these three aspects of academic practice well and to do it in a playful manner. Instead of repeating existing knowledge and scientific methods punctiliously, the playful academic experiences and presents knowledge in new or alternative ways. Playfulness more often results in discoveries and inventions that are otherwise unthinkable.Through an analysis of a selection of Plato’s myths, allegories, and imagery, the article demonstrates how very complicated subject matters can be illustrated in a playful, synecdochic form, hereby making the unfathomable easier to approach and understand.Examining Plato’s concept of ‘agalma’ – the beautiful ornament of wisdom – the article discusses how we can see academia as a jewellery box, or as a plaything. Agalma allows us to see learning, teaching, and research as an adventurous journey or as a playful labyrinth leading into all dime...

Mettre au monde les beautés du dieu À propos de la construction de la présence divine dans l'Égypte ancienne * Sylvie DONNAT « Si on adore le dieu sur son chemin, c'est alors qu'il est fait de pierres fines et "mis au monde" en cuivre. » Enseignement pour Mérykarê 1

This article examines the well from which good learning, teaching, and research originate. It investigates how to perform these three aspects of academic practice well and to do it in a playful manner. Instead of repeating existing knowledge and scientific methods punctiliously, the playful academic experiences and presents knowledge in new or alternative ways. Playfulness more often results in discoveries and inventions that are otherwise unthinkable. Through an analysis of a selection of Plato's myths, allegories, and imagery, the article demonstrates how very complicated subject matters can be illustrated in a playful, synecdochic form, hereby making the unfathomable easier to approach and understand. Examining Plato's concept of 'agalma'-the beautiful ornament of wisdom-the article discusses how we can see academia as a jewellery box; or as a plaything. Agalma allows us to see learning, teaching, and research as an adventurous journey or as a playful labyrinth leading into all dimensions of being.

Plato's Symposium exposes the axial points of Eros. As Francalanci shows in her work Love, Speech, Truth: an interpretation of Plato's Symposium, the eulogies of Symposium are not conflicting. Eryximachus, Aristophanes, Agathon and Diotima's speeches are versions of the same essence -this essence is called as agalma by Socrates and also by Lacan. According to the psychoanalyst the concept of agalma is also opportune to consider the event of desire. In Symposium, all the four eulogies mentioned comprehended as exposing Eros, actually, came out of the same enigma on which Lacan comments: the agalma happens in the middle of three perspectives. In other words, Eros requires three different aspects to show himself. Also according to Lacan, in the end of Symposium the way Eros is caused is a little more specific: it is caused by the agalma, that's the brightness in Alcibiades' words, and the desire of being seen by the Other, in lacanian interpretation. In the end of the commented dialogue, Alcibiades has a fit of jealousy but, according to Socrates, he has the desire of being seen by Agathon. We propose, then, to make a brief commentary on the function of the agalma in the event of Eros.

This paper looks at the way “euphrosynē” was instilled in ancient polis members in order to federate them around community-binding ideals, values and aspirations. Its point of departure is Gorgias’s comments in his “Encomium to Helen” on the “incantatory magic” administered by “meteorologists”, rhetoricians and philosophers. The case is made that Orpheus, the Sophists and Plato are the exemplars of these three kinds of magician. While all three had in common the goal of “bewitching” their respective publics’ into feeling “delight” (τέρψις) while doing what each enchanter wanted them to do, they were nevertheless antipodes apart when it came to the finalities sub-served by their incantations. This is so because each of them ascribed to irreconcilably opposed cosmopolitical paradigms. It was therefore inevitable that they should also differ as to the laws and customs (νόμοι καὶ νόμιμα) polis-members ought to observe to order their lives both publicly and in private. These three magicians also differed in the techniques of persuasion (πιθανουργία) they used to seduce their respective publics’ into compliance. For if all three depended on “pleasure” to “drug” community members into compliance, they disagreed on what pleasure should be taken to mean. Just as they diverged on how it ought to be administered, experienced and engineered into a resource for organising the polis and regulating the ethos of the people belonging to it. The paper concludes by asking if the discussed applications of Euphrosyne may not have valuable lessons to offer us on how to address our own Cosmopolitical crisis.


Subsection Headings

1. Introduction - Polis and ‘Pathos’?
2. Who were the Meteōrolόgoi in Gorgias’ Defence of Helen?
3. What Cosmopolitics and Parainetics were subserved by the “Magic” (ἐπῳδή) practiced by the inspired meteōrológos?
4. Eu-ph(e)ro-synē and Dikaiosynē
5. “Song” as a Community Normatising Resource
6. How to make a “sound statue” (ἀγάλμα φωνή) of théia dynamis
7. The Psychotropic effects of exposure to the Magic of θέσπις ἀοιδή
8. The Twilight of Orphic “Song culture” and the Emergence of the Sophistic paideía in the Classical Age
9. The insidious Societal and Political consequences of the Magic administered by Sophistic “ῥητορικὴ τέχνη”
10. Classical Philosophy’s – qualified – reinstatement Orphic Euphrosynē for Cosmopolitical and Parainetic End Uses
11. Socrates versus Marsyas – turning Euphrosynē into Sophrosynē
12. Concluding Remarks: What praxis of Euphrosynē for the Cosmopolitical crisis of nostrum aevum?

Il desiderio non è una cosa semplice - ágalma Milano, Mimesis, pp. 221, € 13, In questo ben documentato volume, Fulvio Carmagnola − docente di Estetica presso l'Università degli Studi di Milano-Bicocca − propone alcune feconde declinazioni della nozione di ágalma. Il fi lo conduttore, come vedremo a breve, è rintracciabile negli studi di Lacan attorno a questa tematica nel Seminario VIII, senza per questo tralasciare altre importanti 'fi gure di ágalma' -come suggerisce lo stesso sottotitolo del libro. La questione centrale, scrive Carmagnola, è quella che sorge dall'intersezione tra l'immaginario e il desiderio, concetti in sé problematici ed enigmatici, che tuttavia, a causa delle caratteristiche della società postindustriale, hanno subito un processo di mercifi cazione e costrizione su cui occorre svolgere un lavoro di critica e rifl essione.

Electronic reference:
Éveline Loucas-Durie, “Simulacre humain et offrande rituelle”, Kernos [Online], 1 | 1988, Online since 31 January 2011, connection on xxxxxxxxxxxxxxxxx . URL: http://journals.openedition.org/kernos/107; DOI: https://doi.org/10.4000/kernos.107

Actes du Colloque « La pluridisciplinarité dans l’étude de la religion grecque antique » du CERGA - Centre d'Etude de la Religion Grecque Antique
Communications

Trata o texto de aspectos relevantes acerca do nome das imagens na Antiguidade greco-romana. Assim observa como gregos e romanos associam o nome do tipo de imagem a uma prática plástica e/ou pictórica específica, tendo em vista processos elocutivos e invedivos das mesmas imagens. Assim a designação da espécie imagética mantém estreita reçào com o tipo de imagem produzida.