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PROCLUS AND PLATO - (D.) Muhsal (trans.) Der Homerische Mythos und die Grundlagen neuplatonischer Theologie. Proklos’ Traktat über die Dichtung Homers [in R. I 69–205]. Übersetzung und Kommentar. (Beiträge zur Altertumskunde 405.) Pp. xiv + 363. Berlin and Boston: De Gruyter, 2022. Cased, £91, €99.95, US$114.99. ISBN: 978-3-11-078728-3.
- Anne Sheppard
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- Journal:
- The Classical Review / Volume 73 / Issue 2 / October 2023
- Published online by Cambridge University Press:
- 31 March 2023, pp. 488-490
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- October 2023
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OLYMPIODORUS ON PLATO - (B.) Bohle Olympiodors Kommentar zu Platons Gorgias. (Studien zu Literatur und Erkenntnis 11.) Pp. 274. Heidelberg: Universitätsverlag Winter, 2020. Cased, €52. ISBN: 978-3-8253-6809-8.
- Anne Sheppard
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- Journal:
- The Classical Review / Volume 72 / Issue 1 / April 2022
- Published online by Cambridge University Press:
- 05 November 2021, pp. 68-70
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- April 2022
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Chapter 11 - ‘In Plato we can see the bad characters being changed by the good and instructed and purified.’
- Edited by Michael Erler, Julius-Maximilians-Universität Würzburg, Germany, Jan Erik Heßler, Julius-Maximilians-Universität Würzburg, Germany, Federico M. Petrucci, Università degli Studi di Torino, Italy
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- Authority and Authoritative Texts in the Platonist Tradition
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- 19 February 2021
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- 04 March 2021, pp 227-244
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Summary
As we shall see in the course of this chapter, a similar approach to Plato’s use of characters in his dialogues can be found in Proclus, Olympiodorus and elsewhere.4 Twenty-first century readers of Plato, conscious of the need to appreciate Plato’s dialogues as works of literature as well as philosophy, may well be struck by remarks like these,5 and may wonder how the Neoplatonists of late antiquity reconciled their awareness of Plato’s skill in characterization with treating Plato as a philosophical authority. That will be my topic in this chapter. I begin with a brief discussion of some modern interpreters who emphasize Plato’s use of dialogue form, from which we shall see that even in our postmodern age such an emphasis can still be combined with a belief that Plato is a dogmatic philosopher. I will then turn to fuller examination of the interpretation of Plato’s characters by Proclus and Olympiodorus, including how this relates to their acceptance of Plato’s authority.
A Comparison of the Effects of Intraosseous and Intravenous 5% Albumin on Infusion Time and Hemodynamic Measures in a Swine Model of Hemorrhagic Shock
- Stacy L. Muir, Lance B. Sheppard, Anne Maika-Wilson, James M. Burgert, Jose Garcia-Blanco, Arthur D. Johnson, Jennifer L. Coyner
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- Journal:
- Prehospital and Disaster Medicine / Volume 31 / Issue 4 / August 2016
- Published online by Cambridge University Press:
- 23 May 2016, pp. 436-442
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- August 2016
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Introduction
Obtaining intravenous (IV) access in patients in hemorrhagic shock is often difficult and prolonged. Failed IV attempts delay life-saving treatment. Intraosseous (IO) access may often be obtained faster than IV access. Albumin (5%) is an option for prehospital volume expansion because of the absence of interference with coagulation and platelet function.
Hypothesis/ProblemThere are limited data comparing the performance of IO and IV administered 5% albumin. The aims of this study were to compare the effects of tibial IO (TIO) and IV administration of 500 mL of 5% albumin on infusion time and hemodynamic measurements of heart rate (HR), mean arterial pressure (MAP), cardiac output (CO), and stroke volume (SV) in a swine model of hemorrhagic shock.
MethodsSixteen male swine were divided into two groups: TIO and IV. All subjects were anesthetized and a Class III hemorrhage was achieved by exsanguination of 31% of estimated blood volume (EBV) from a femoral artery catheter. Following exsanguination, 500 mL of 5% albumin was administered under pressurized infusion (300 mmHg) by the TIO or IV route and infusion time was recorded. Hemodynamic measurements of HR, MAP, CO, and SV were collected before and after exsanguination and every 20 seconds for 180 seconds during 5% albumin infusion.
ResultsAn independent t-test determined that IV 5% albumin infusion was significantly faster compared to IO (P=.01). Mean infusion time for TIO was seven minutes 35 seconds (SD=two minutes 44 seconds) compared to four minutes 32 seconds (SD=one minute 08 seconds) in the IV group. Multivariate Analysis of Variance was performed on hemodynamic data collected during the 5% albumin infusion. Analyses indicated there were no significant differences between the TIO and IV groups relative to MAP, CO, HR, or SV (P>.05).
ConclusionWhile significantly longer to infuse 5% albumin by the TIO route, the longer TIO infusion time may be negated as IO devices can be placed more quickly compared to repeated IV attempts. The lack of significant difference between the TIO and IV routes relative to hemodynamic measures indicate the TIO route is a viable route for the infusion of 5% albumin in a swine model of Class III hemorrhage.
,Muir SL ,Sheppard LB ,Maika-Wilson A ,Burgert JM ,Garcia-Blanco J ,Johnson AD .Coyner JL A Comparison of the Effects of Intraosseous and Intravenous 5% Albumin on Infusion Time and Hemodynamic Measures in a Swine Model of Hemorrhagic Shock . Prehosp Disaster Med.2016 ;31 (4 ):436 –442 .
Chapter 2 - Proclus as exegete
- from Part I - Proclus
- Edited by Stephen Gersh, University of Notre Dame, Indiana
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- Interpreting Proclus
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- 05 October 2014
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- 15 September 2014, pp 57-79
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- Edited by Stephen Gersh, University of Notre Dame, Indiana
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- Interpreting Proclus
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- 05 October 2014
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- 15 September 2014, pp vii-vii
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(P.) Remes Neoplatonism (Ancient Philosophies 3). Stocksfield: Acumen Publishing, 2008. Pp. xii + 244. £45. 9781844651245 (hbk). £14.99. 9781844651252 (pbk).
- Anne Sheppard
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- Journal:
- The Journal of Hellenic Studies / Volume 130 / November 2010
- Published online by Cambridge University Press:
- 19 November 2010, pp. 282-283
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- November 2010
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Yee, Viktor Yelensky, Yeo Khiok-Khng, Gustav K. K. Yeung, Angela Yiu, Amos Yong, Yong Ting Jin, You Bin, Youhanna Nessim Youssef, Eliana Yunes, Robert Michael Zaller, Valarie H. Ziegler, Barbara Brown Zikmund, Joyce Ann Zimmerman, Aurora Zlotnik, Zhuo Xinping
- Edited by Daniel Patte, Vanderbilt University, Tennessee
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- The Cambridge Dictionary of Christianity
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- 05 August 2012
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- 20 September 2010, pp xi-xliv
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Gorgias
- Edited and translated by Oleg V. Bychkov, St Bonaventure University, New York, Anne Sheppard, Royal Holloway, University of London
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- Greek and Roman Aesthetics
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Summary
Encomium of Helen
8–14
If, however, it was speech that persuaded her and deceived her soul, it is not difficult to defend her against this too and acquit her of the charge, in the following way. Speech is a powerful master, which accomplishes most divine deeds in the most diminutive and imperceptible body. For it can put an end to fear, take away sorrow, incite joy and augment pity. I will demonstrate that this is so.
Indeed, a demonstration for the listeners that would form their opinion is in order. I consider and call every sort of poetry ‘speech with metre’. Those who listen to it shudder with great fear, and are seized by tearful pity and mournful longing; the soul experiences something personal, through these words, on account of the good or ill fortunes that befall the affairs and bodies of others. But it is time to turn from one point to another.
Through words, inspired incantations bring pleasure and drive away pain. For the power of the incantation, working together with the soul's power of judgement, enchants, persuades and converts it by witchcraft. We know of twin arts, witchcraft and magic, that mislead the soul and deceive the judgement.
So many people have persuaded or do persuade so many others on so many subjects by composing false discourse! Now if everybody had the memory of all past things, awareness of all present things, and foreknowledge of all future things, the same words would not have the same power.
Plato
- Edited and translated by Oleg V. Bychkov, St Bonaventure University, New York, Anne Sheppard, Royal Holloway, University of London
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Ion
533d–536d
socrates: This ability of yours to talk well about Homer, which I spoke of just now, is not a skill but a divine force which moves you. It is like the force in the stone which Euripides called Magnesian, but which most people call Heraclean. For indeed this stone not only attracts iron rings themselves but also passes its force on to the rings so that they in their turn can do the same as the stone and attract other rings. Sometimes there is a very long chain of rings and bits of iron, all attached to each other; the force which links them all together comes from that stone. In just this way the Muse herself makes people inspired, and they in turn inspire others, forming a chain of inspiration. For all the good epic poets recite all these fine poems not through skill but because they are inspired. The same goes for the good lyric poets: just as those who celebrate the Corybantic rites are not in their right minds when they dance, so too the lyric poets are not in their right minds when they compose these fine poems; whenever they embark on harmony and rhythm, they act like Bacchants and are possessed. Just as Bacchants, when possessed, draw honey and milk from rivers and are not in their right minds, so the lyric poets' soul does this too, as they themselves say.
Greek and Roman Aesthetics
- Edited and translated by Oleg V. Bychkov, St Bonaventure University, New York, Anne Sheppard, Royal Holloway, University of London
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Proclus
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Summary
Commentary on the Timaeus
1,265.18–26
So too Phidias who made the statue of Zeus did not look at something that has come to be but arrived at a notion of the Homeric Zeus. If he had actually been able to reach the intellectual god himself, clearly his own work would have been a finer achievement. Beauty, or the lack of it, comes to the image from the model, likeness or unlikeness to the archetype comes from the sculptor. ‘Image’ is used of both, both the copy of the model and the work and product of the sculptor.
Commentary on the Republic
1,177.7–179.32
Let us turn next to the discussion of poetry and consider what types of poetry there are according to Plato, what type he had in mind when he expounded his criticisms of poetry in the tenth book of the Republic, and finally how even here homer is shown to be exempt from the criticisms which apply to most poets. To make this clear also, let us begin teaching about this with the following point: we say that, speaking generally, there are three kinds of life in the soul. The best and most perfect kind is that in which the soul is joined to the gods and lives the life that is most closely akin to them and united with them in extreme similarity: it belongs not to itself but to them, surpassing its own intellect, awakening in itself the ineffable symbol of the gods' unitary existence and joining like with like, its own light to the light of the gods and the most unitary aspect of its own being and life to the One which is beyond all being and life.
Seneca
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Letters or Lucilius
Letter 65.2–10
As you know, our own Stoics proclaim that there are two principles in nature that are responsible for the existence of everything: cause and matter. Matter is something inert in the state of rest, ready to become anything, which would remain idle if nothing moved it. At the same time, cause, or reason, shapes matter and moulds it into whatever it wishes, producing various things out of it. Therefore there must be the material out of which something is produced, and then the agent of production: the former is the matter, the latter is the cause. All art consists in imitation of nature; therefore apply what I said about the world in general to human products. Thus in the case of a statue, there is both matter that is subject to the activity of the artist, and the artist who gives external shape to matter. In a statue bronze is the matter and the sculptor is the cause. All things share the same condition: they consist of that which becomes and of that which produces.
The Stoics believe there is one kind of cause: that which produces. Aristotle thinks that ‘cause’ is predicated in three different ways: ‘the first cause’, he says, ‘is the matter itself, without which nothing can be produced; the second is the producer; the third is the form, which is impressed on every product, as on a statue’. That last one Aristotle calls eidos (form, shape).
Chronology
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Introduction
- Edited and translated by Oleg V. Bychkov, St Bonaventure University, New York, Anne Sheppard, Royal Holloway, University of London
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The title of this volume is Greek and Roman Aesthetics. However, aesthetics as a separate branch of philosophy with a distinctive subject matter (questions about beauty, the nature of fine art, forms of aesthetic judgement, etc.) which admits of a systematic but unitary treatment, is hardly older than the eighteenth century. Its origin is generally dated to Alexander Baumgarten (1714–62), who coined the term and devoted a specific treatise to the nascent discipline, and to Immanuel Kant, who investigated the issue of aesthetic judgement and its fundamental role in philosophy in more depth in the Critique of Judgement in 1790. What, then, is Greek and Roman aesthetics? How do ancient discussions relate to what we now call aesthetics and on what basis have we selected the particular texts included in this volume? This introduction will begin by briefly addressing these questions, before offering an account of the Greek and Roman precursors of aesthetics which should help to place the texts in this volume within their intellectual context.
Xenophon
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Memoirs of Socrates
3.10.1–8
Whenever Socrates had a discussion with any professional artists, he was helpful to them too. On one occasion he called on the painter Parrhasius and had a discussion with him.
‘Does painting produce a likeness of what is seen, Parrhasius?’ he asked. ‘You imitate hollows and heights, dark and light, hard and soft, rough and smooth, young bodies and old, using colours to give a likeness.’
‘That is true,’ he replied.
‘And indeed when you make likenesses of beautiful figures, since it is not easy to come across one person who is blameless in all respects, you draw on many models, combine the most beautiful aspects of each and so make bodies appear entirely beautiful.’
‘Yes, that is what we do,’ he said.
‘Well then,’ said Socrates, ‘do you imitate the character of the soul, the most appealing, pleasing, likeable, desirable and lovable part of us? Or can this not be imitated?’
‘How could it be imitated, Socrates?’ he said. ‘It has neither symmetry nor colour nor any of the qualities you mentioned just now, and it is not even visible at all.’
‘Well then, can people look at others in a friendly or hostile way?’ he asked.
‘I think they can,’ said Parrhasius.
‘Can this then be imitated in the expression of the eyes?’
‘I agree,’ he said.
‘Do those who are concerned about the good and bad fortune of their friends have the same expressions on their faces as those who are not?
Longinus
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On Sublimity
1–2
My dear Postumius Terentianus,
You will recall that when we were reading together Caecilius' monograph On Sublimity, we felt that it was inadequate to its high subject, and failed to touch the essential points. Nor indeed did it appear to offer the reader much practical help, though this ought to be a writer's principal object. Two things are required of any textbook: first, that it should explain what its subject is; second, and more important, that it should explain how and by what methods we can achieve it. Caecilius tries at immense length to explain to us what sort of thing ‘the sublime’ is, as though we did not know; but he has somehow passed over as unnecessary the question how we can develop our nature to some degree of greatness. However, we ought perhaps not so much to blame our author for what he has left out as to commend him for his originality and enthusiasm.
You have urged me to set down a few notes on sublimity for your own use. Let us then consider whether there is anything in my observations which may be thought useful to public men. You must help me, my friend, by giving your honest opinion in detail, as both your natural candour and your friendship with me require. It was well said that what man has in common with the gods is ‘doing good and telling the truth’.
Philodemus
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On Poems 5
x.21–xii.9
… I accept entirely that a good poet differs from the one who merely writes well. For one can take an irrational story or subject and elaborate it poetically; there have been some poets like that. But the one who is also selective about his subject matter is thought to be a consummate good poet …
I accept that some who play the pipe are not good pipe-players and that this fact corresponds to my distinction between one who merely writes well and the good poet, and he is not quibbling when he brings in the musicians as witnesses that he is speaking the truth. He claims that making this distinction divides the matter in hand into two, and that the actual composition of poetry would be more, not less, important. I understand this to be the same as saying that perfect composition is more valuable than wealth of thought.
xiii.32–xv.17
Neoptolemus was wrong to separate stylistic arrangement from thought, while saying that it is neither more nor less important, as we have noted. He absurdly subdivides poetic art into (a) the person who has the skill and ability to write poetry, (b) the poem, and (c) poetry. How could that be? He ought rather to call the examples of composition ‘poetry’ or, better still, to call the ‘poems’ works and their ‘poetry’ something like the webs the poet weaves, and the one who has the skill and works with it ‘a poet’.
Greek and Roman Aesthetics
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This anthology of philosophical texts by Greek and Roman authors brings together works from the late fifth century BC to the sixth century AD that comment on major aesthetic issues such as the perception of beauty and harmony in music and the visual arts, structure and style in literature, and aesthetic judgement. It includes important texts by Plato and Aristotle on the status and the role of the arts in society and in education, and Longinus' reflections on the sublime in literature, in addition to less well-known writings by Philodemus, Cicero, Seneca, Plotinus, Augustine and Proclus. Most of the texts have been newly translated for this volume, and some are available in English for the first time. A detailed introduction traces the development of classical aesthetics from its roots in Platonism and Aristotelianism to its ultimate form in late Antiquity.
Philostratus
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Life of Apollonius of Tyana
2.22
Apollonius spent a long time in the temple, until the king had been told that the strangers had arrived. During this time the following conversation took place.
‘Damis,’ said Apollonius, ‘is there such a thing as painting?’
‘Yes indeed,’ he replied, ‘if there is also such a thing as truth.’
‘What does this art do?’
‘It mixes all the different colours together,’ said Damis, ‘blue with green, white with black and red with yellow.’
‘For what purpose does it mix them?’ Apollonius asked. ‘For it is not just to obtain a bright colour, like dyed wax.’
‘The purpose is imitation,’ said Damis, ‘to make likenesses of dogs and horses and people and ships and everything under the sun. And what is more, it makes a likeness of the sun himself, sometimes in a four-horse chariot, as he is said to appear in this world, and sometimes actually carrying a torch across the sky, when the painting depicts the upper air and the home of the gods.’
‘So is painting imitation, Damis?’
‘What else could it be?’ said Damis. ‘If it did not do this, we would think it ridiculous, foolishly concocting colours.’
‘What will you say about the shapes we see in the sky when the clouds are torn apart from each other, the centaurs and goat-stags and, by Zeus, the wolves and the horses? Are they not products of imitation?’