Evil is a pressure that shapes us to itself. âSophocles, Electra (trans. Anne Carson, l. 425)


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Evil is a pressure that shapes us to itself. âSophocles, Electra (trans. Anne Carson, l. 425)

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A Dreadful Desire: Climactic Action in Senecaâs Phaedra
Peter Paul Rubens, Two Satyrs, 1617â1619 Before I address the question of desire in Senecaâs Phaedra, I want to pause and reflect on the beauty of the language. Time silently wears you away, and the moment that passes you by is pursued by a worse one. From the Ode to Hippolytusâs Beauty in R. Scott Smithâs translation for Penguin, a dark reminder and with such beauty in itself that it strikesâŚ
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A Spark of Divinity: Wisdom from Below in the Panchatantra
Three folios from a Persian manuscript of KaliĚlah wa-Dimnah in Mughal-era style, ca. 1010 The Panchatantra is a classic of Indian antiquity. Its changing series of tales-within-tales-within-tales has seen many lives since, from medieval Persia, to renaissance Europe, to the modern universityâs Great Books course. The middle of Book One (the first of the Five Tantras) sees the climax of theâŚ
Annihilation or Metamorphosis: Nature and Therapeia in the Meditations
*Part of a series summarizing lectures in The Human Situation The chief concern of Marcus Aureliusâ Meditations is the care of oneâs soul; one name such care goes by in antiquity will be instantly familiar to a modern audience: therapeia. The connection, of course, is not incidental, with early psychoanalytic thought deeply shaped by Stoicism and other schools of ancient philosophy. But this isâŚ
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The Human Situation
As the years slowly meander along it seems that I have given over fifty lectures in The Human Situation, a course taken by every first-year student in The Honors College at UH. The course is taught by a team of ten or so professors and we rotate the texts every semester, and I realized recently that some of the lectures Iâve given have slipped away a bit. I have, of course, the lecture slidesâŚ

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waR uh-mAcher Poet rOm st UsurytioN flood E iZationndRed tizAtionPollonius,rOm rdUs. âJackson Mac Low, Words nd Ends from Ez (1989)
The throats of the little red trumpet-flowers are wide open, And the clangour of brass beats against the hot sunlight. â"1777" (1916), Amy Lowell
Reading Burnt Books: The Vesuvius Challenge 2023 Grand Prize As A Minor Renaissance
Mock clay tablets all you want, but at least when you burned ancient Mesopotamian libraries it made their collections more durable, not less. If you tried to read the carbonized scrolls from the library of Herculaneum, the above resultâa pile of cindersâwas all you would receive. Until now. Not a lot about AI gets me excited; ChatGPT is fun to play with, but may be a slow-moving academicâŚ
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Ethos in the sense of character
â[Sophocles] had first to rid himself of Aeschylean bombast âŚ. to turn to the form of speech which would be âthe most ethical and the bestâ (using the word Äthos in the sense of âcharacterâ).â âKarl Reinhardt, Sophocles (7)
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The hopeless human situation as such...
âEugene DĂśnt once also drew a comparison between the structure of Oedipus and the novel The Trial by Franz Kafka. Both could be termed metaphors for the sudden, complete and relentless breakdown of a human being, a helpless victim of powers beyond his reach, or even termed descriptions of the hopeless human situation as such.â âWalter Burkert, Oedipus, Oracles, and Meaning (#)
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Counter-reformation as longue durĂŠe brake on science
At the time, a substantial drop, but created institutional structures that deactivated periodically to create a persistent effect. papers.ssrn.com/sol3/papers.cfm
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An evening redness...
Blood Meridian is one of the three best novels Iâve ever read. And I am not a big rater-of-books, they are too diverse over too long a period for that to make much sense. But the ecstatic poetry of McCarthyâs restless sentences, the as ifs strung together like he was translating from some other language that saw the same things we did, only different, darker, clearer. One of those authors whomâŚ
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Revulsion of the said
Wittgenstein was always disgusted with what he had said and with himself. Often he would rush off to a cinema immediately after the class ended. I mean, if even Wittgenstein might feel such a way. Then off to the movies, which he equates to dreams, incoming Freud. In the anecdote, we feel a fierce anxiety that moves him relentlessly to flee the scene, where the words he has just uttered linger inâŚ
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Itâs like talking about whether your dishwasher really hates dirt and grease. âDavid Roth on Tucker Carlson (#)
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The forgetfulness of parents ...
As a rule parents and authorities analogous to them follow the precepts of their own super-egos in educating children. Whatever understanding their ego may have come to with their super-ego, they are severe and exacting in educating children. They have forgotten the difficulties of their own childhood and they are glad to be able now to identify themselves fully with their own parents who in theâŚ
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Carving Without the Least Bit of Intimidation: Love, War, and Food in Jhumpa Lahiri
Carving Without the Least Bit of Intimidation: Love, War, and Food in Jhumpa Lahiri
Iâm just going to jump right in and get us started with two interpretive questions: 1. What, precisely, is the âtemporary matterâ of the first story?2. What does a pumpkin have to do with the partition of India? Obviously, the title of âA Temporary Matterâ refers o the brief electrical outages that occur each evening in the story, but by the end we are so far from minor inconveniences and soâŚ
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The Gossip of Flames: Becoming Opposite Equal's in Whitman's "Song of Myself"
The Gossip of Flames: Becoming Opposite Equalâs in Whitmanâs âSong of Myselfâ
Out of the dimness opposite equals advance . . . . Always substance and increase, always sex, Always a knit of identity . . . . always distinction . . . always a breed of life. [3] In todayâs lecture, I am going to address two seemingly simple questions: 1. How does Whitmanâs poetry work in âSong of Myselfâ? 2. What does Whitmanâs poetry mean in âSong of Myselfâ? I believe that the answer toâŚ
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