A Commentary on Homer's Odyssey.
Alfred Heubeck; Stephanie West; J B Hainsworth; A Hoekstra; Joseph Russo
1988-1992
English Book 3 v. ; 23 cm.
Oxford : New York : Clarendon Press ; Oxford University Press, ; ISBN: 0198140371 (v. 1) : 0198140487 (v. 3)
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Title: A Commentary on Homer's Odyssey.
Author(s): Heubeck, Alfred,; 1914- ; West, Stephanie. ; Hainsworth, J. B. ; (John Bryan); Hoekstra, A. ; Russo, Joseph.
Publication: Oxford : Clarendon Press ; New York : Oxford University Press,
Year: 1988-1992
Description: 3 v. ; 23 cm.
Language: English
Contents: v. 1. Introduction and Books I-VIII / Alfred Heubeck, Stephanie West, J.B. Hainsworth -- v. 2. Books IX-XVI / Alfred Heubeck, Arie Hoekstra -- v. 3. Books XVII-XXIV / Joseph Russo, Manuel Fernández-Galiano, Alfred Heubeck.
Standard No: ISBN: 0198140371 (v. 1) :; 0198140487 (v. 3); LCCN: 87-18509
SUBJECT(S)
Descriptor: Odysseus (Greek mythology) in literature.
Epic poetry, Greek -- History and criticism.
Named Person: Homer. Odyssey.
Homčre. "Odyssée".
Note(s): "A revised version, without text and translation, of the first two parts of the six-volume edition commissioned by the Fondazione Lorenzo Valla and published by Mondadori"--Pref., v. 1./ Includes bibliographical references and indexes.
Class Descriptors: LC: PA4167; Dewey: 883/.01
Document Type: Book
Entry: 19870618
Update: 20010609
Accession No: OCLC: 16131174
Database: WorldCat
1987
German Book 204 p., viii p. of plates : ill. ; 24 cm.
Göttingen : Vandenhoeck & Ruprecht, ; ISBN: 3525254261
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Title: Sport und Spiel /
Author(s): Laser, Siegfried.
Publication: Göttingen : Vandenhoeck & Ruprecht,
Year: 1987
Description: 204 p., viii p. of plates : ill. ; 24 cm.
Language: German
Series: Archaeologia Homerica ;; Kapitel T; Variation: Archaeologia Homerica ;; Bd. 3, Kapitel T.
Standard No: ISBN: 3525254261; LCCN: 87-207279
SUBJECT(S)
Descriptor: Games -- Greece -- History.
Sports -- Greece -- History.
Note(s): Includes index./ Bibliography: p. 194-204.
Class Descriptors: LC: DF13; GV21; Dewey: 901.91
Responsibility: von Siegfried Laser.
Document Type: Book
Entry: 19871202
Update: 19980914
Accession No: OCLC: 16880803
Database: WorldCat
R - 'Reading' Greek Culture: Texts and Images, Rituals and Myths
Bryn Mawr Classical Review 03.04.14
Christiane Sourvinou-Inwood, 'Reading' Greek Culture: Texts and Images, Rituals and Myths. Oxford: Clarendon Press, 1991. Pp. 315. ISBN 0-19-814750-3.
Reviewed by Judith M. Barringer, Middlebury College.
The third section of this book is devoted to a single essay, "Persephone and Aphrodite at Locri: A Model for Personality Definitions in Greek Religions." Sourvinou-Inwood begins by stating her method for defining a deity through an investigation of the society that forms the worshipping group and the pantheon to which a specific deity belongs. Moreover, she stresses the importance of examining the local, polis manifestation of a given deity in order to define it, rather than relying on a Panhellenic conception. There follows a brief discussion of the emergence of historical Greek religion in the eighth century B.C, and the concurrent development of individual local manifestations of deities. Finally, Sourvinou-Inwood focuses on the figure of Persephone at Locri Epizephyrii as her case study, using the terracotta pinakes of the first half of the fifth century B.C. dedicated to Persephone in her sanctuary at Locri as her primary evidence. The author sorts out those pinakes belonging to Persephone from those dedicated to Aphrodite at Locri, including scenes of Hades' abduction of Persephone, Hades and Persephone enthroned, deities paying homage to Hades and Persephone, worshippers bringing objects to Hades and Persephone, then meticulously examines the symbols and objects that appear on the pinakes. She concludes that the pinakes dedicated to Persephone show scenes related to Persephone's role as protectress of marriages and weddings at Locri, and claims that the pinakes were dedications of young girls who were about to be married. She then turns her attention to other pinakes that can be assigned to Persephone because they include the same attributes as those on the 'certain' Persephone pinakes. The intriguing question is raised as to whether the scenes on the pinakes represent actual events that took place during the Locrian rites or whether they are meant to be read as 'mythical'; the author claims that some are of one type, some of the other. The last section of this essay deals with Aphrodite at Locri, again using pinakes that "indisputably belong to Aphrodite" (p. 175), although the author does not explain what criteria were used in this determination. Like Persephone, Aphrodite is connected with the sphere of love, although on a cosmic scale, as opposed to Persephone, who is concerned with fertility and marriage at Locri.
There are some statements that are not clarified. For example, Sourvinou-Inwood states on several occasions that mirrors and alabastra "gravitated into Persephone's orbit" (p. 154, 171) from that of Aphrodite, although she does not explain what this means; how did this transferance took place and why? On p. 157, Sourvinou-Inwood claims that Zeus does not appear as a deity paying homage to Persephone and Hades because this would be inappropriate considering his supreme status, but this explanation is not entirely satisfactory when we recall that Zeus appears in the wedding procession in honor of Peleus and Thetis on the François Vase. I wonder about the soundness of extrapolating the meaning of various symbols that appear on the pinakes from their appearance elsewhere in the Greek world if one cannot do the same for deities, according to the author (cf. pp. 151, 159, 160, 161). Might it be that one goddess' symbol might belong to another in a local context? With regard to the last attribute (k) discussed on p. 162, the "sceptre ending in a figurine of a sphinx", Sourvinou-Inwood states that "the firm chthonic and funerary associations of this monster hardly need mentioning", but she does not clarify what time period or geographical region she is referring to, nor does she explain how the sphinx is "chthonic". There are a number of passages in Section III that I felt really belong in a footnote, for example, the discussion of a peculiar pinax on pp. 163-164; such extra material distracts the reader from the already complex and evolving argument. I think that the author's reading of gestures and attitudes often reflects cultural bias, such as her description of the attitude of a child depicted on a pinax (illustrated in figure 17) as an "aggressively female coquettish stance" (p. 170); and what are "gestures of adoration" (p. 173)? Admittedly, one can hypothesize about the meaning of gestures based on context, but Sourvinou-Inwood does not explain her reasoning here. I suspect that the author misreads the image on an altar dedicated to Hermes and Aphrodite in their temple at Locri discussed on pp. 178-179: a satyr copulating with a hind. Sourvinou-Inwood reads this as an image of bestiality, demonstrating that Aphrodite and Hermes "preside over love and sex in its entirety, as a cosmic principle, which includes manifestations that society may classify as perverse". This seems awfully abstract. A further example of a possible misreading appears on pp. 179-180 regarding a pinax adorned with a representation of a very young girl offering a ball and a warrior offering a cock to a seated Persephone. Sourvinou-Inwood interprets this as a dedication for Persephone at the time of the votum made by the Locrians to Aphrodite in 477/6, which included the prostitution of virgin Locrian maidens at the festival of Aphrodite; this dedication was designed to appease the protectress of marriage for ending the virginity of the girls before marriage. Could this pinax simply be an artist's variant on the usual type of worshippers bringing gifts to Persephone that were discussed earlier in connection with Persephone; in other words, is this pinax really so special?
Section IV, the last portion of the book, is also divided into three essays, each concerned with the relationship or lack thereof between myth and history, and more specifically with how myths are structured to reflect Greek beliefs and not facts. IV.1 "The Myth of the First Temples at Delphi" is an intriguing contribution, concerning the myths describing previous temples at Delphi that are recounted in Pindar, Pausanias, and other ancient writers. The myths claim that there were four temples at Delphi preceding the currently visible one: the first was made of laurel from the Tempe valley; the second was built by bees, who used wax and feathers; the third was of bronze, and according to Pindar, was made by Hephaistos and Athena; and the fourth was constructed of stone by Trophonios and Agamedes, according to the Homeric Hymn to Apollo, and was burnt down in 548 B.C. Sourvinou-Inwood discusses each temple, concentrating on the building materials and their associations, and on the builders. The author argues that the myth demonstrates the move from nature (temples made of laurel, wax and feathers) to human craft (human sphere in the present-day temple), and the descent from divine (Hephaistos and Athena) to heroic (Trophonios and Agamedes) to human (who constructed the currently visible temple). Sourvinou-Inwood recognizes that the bronze temple may be modelled on Hesiod's generations, that is, that the materials used for the temples stand for stages of evolution. However, Sourvinou-Inwood tests the limits of credibility when she suggests that the animal portion of the myth (bees) was created to fill a 'space' in the mythical order between wild nature and human craft, with divine and heroic in between. She writes: "This as it stands is clearly unbalanced: the animal world is not represented and the transition from the laurel temple to the rest is abrupt: as an evolutionary model this would be incomplete, and as a narrative pattern unsatisfactory. Thus this mythological structure created the space for, demanded the gap be filled by, a temple involving the animal world" (p. 208). This seems to assume that there was conscious recognition of the mythical patterns that Sourvinou-Inwood has traced, and that the author(s) of this myth was aiming at a complete structuralist system. Here, it looks as if the author has tried to explain a feature of the myth that does not fit into her theory by claiming that the animal portion was a later addition to balance out the myth. As for the date of the creation of the myth, the author takes the Homeric Hymn to Apollo as a terminus post quem, and favors Pindar as the inventor or elaborator of the myths, rearranging and embellishing previous motifs. One central question is not addressed: why was this myth created and what purpose did it serve?
http://www.clevelandart.org/exhibcef/mg/html/6050340.html
Pinax with Woman Packing a Chest (about 470-460 BC )
Locri Epizephirii
Terracotta, mold-made, hand-finished, painted
Museo Archeologico Nazionale di Reggio Calabria, inv. 28266
[Cat. no. 39]
A type of object particular to Magna Graecia is the terracotta tablet called a pinax. This especially fine example has been reassembled from several fragments, but is complete. Mold-made and once brightly painted, the pinax depicts a woman wearing a garment called a peplos, her hair held in a wrap called a sakkos. She bends over to place a folded piece of fabric into an elaborately decorated lidded chest. Behind her is a throne with lathe-turned legs and double cushions. Hung on the wall are, a two handled wine cup called a kantharos, an oil vessel called a lekythos, a bronze mirror, and a flared basket. There are more than 5000 Locrian pinakes, mostly fragmentary, kept at the museums of Reggio Calabria and Locri. They were made in Locri and dedicated there at the sanctuary of Persephone, the goddess responsible for the fertility of the earth. Despite its apparent domestic setting, the scene probably represents a ritual involving the preparation of a piece of fabric or a dress, perhaps as part of a marriage ceremony.
The texts I will examine are the dedicatory epigrams numbered 3, 4 through 6, and 9 in Gow and Pages Hellenistic Epigrams. Poem 3 (AP 6.265), commemorating the dedication of a robe to Hera Lacinia by the author and her mother, may be paralleled with the well-known fifth-century Locrian pinax types 16 and 17 (Prückner), showing a priestess and four maidens bearing a robe as offering to the cult statue of Persephone (or Aphrodite). Poems 4, 5, and 6 (AP 9.332, 6.275, 9.605), which deal with offerings to Aphrodite by hetairai, can be brought into conjunction with archaeological evidence for archaic and Hellenistic sanctuaries of Aphrodite, with controversial testimony to sacred prostitution (Justin 21.3), and with the peculiar nature of Aphrodites divine personality at Locri (Sourvinou-Inwood 1978). Mention of Adonis, Aphrodites consort, in poem 5 is of considerable interest in view of Barra Bagnascos recent identification of the so-called House of the Lions as a site of Adonis worship (1994). Lastly, the demonstrably religious language used to describe a portrait of Sabaethis in G-P 9 (AP 6.354) may imply that she was an initiate of Pythagoreanism or some other mystery cult.
Ph.D. Granting Institution: University of Illinois at Urbana-Champaign
Dr. Tatiana Tsakiropoulou-Summers came to the University of Alabama in 2002 as an Assistant Professor of Classics. Her teaching and research specialties include Roman poetry, Classical tradition and Neo-Latin poetry in the Renaissance, Epicureanism from antiquity through the Renaissance, myth and archetypal theory, and womens life in antiquity. She has published articles on Horace, Lucretius, Polignacs Anti-Lucretius, Hildegard of Bingen, and myth theory. She is currently working on a book on Lucretius Readers in the Renaissance.
Book Reviews:
C. Calame, Choruses of Young Women in Ancient Greece: Their Morphology, Religious Role and Social Functions, translated by D. Collins & J. Orion (Lanham, MD 1997), in RSR 24.2 (1998): 188.
Choruses of Yung Women in Ancient Greece tr. D.Collins and J.Orion (Lantham,MD 1997)
C.Calame, Les choeurs de jeunes filles en grece archaique, I (Rome 1977) 90-92.
Max Wegner, Musik und Tanz. Archaeologica Homerica. 3U (Gottingen 1968) 42-43
Siegfried Laser, Sport und Spiel. Archaeologica Homerica. 3T (Gottingen 1987) 91-99
Agora P 27342=Kahil, "Le 'caracteristique' d' Artemis... Pl.62=Sourvinou-Inwood pl.4.9 = Lonsdale 191.
Calame: For his discussion of Nausikak, see 160-165.
Hymn to Aphrodite,dancing in the chorus of Artemis (107-127)
Eustathius comments
Hainsworth in A Heubeck, S. West and J.B.Hainsworth, A Commentary on Homer's Odussey, 1 (Oxford 1988) 299 on 6.100.
Sourvinou-Inwood
AP6.280 and commenting on the Locrian Pinax reproduced as pl.15 where a girls offers a ball and cock to Persephone.
H.Ap.204-206
Lonsdale 52-62 for a discussion of the paradigmatic force of this scene, and 66-67 and 207-210 for an analysis of the simile.
========
Claude Calame
young girls danced and sang
D.Collins
J.Orion
rites at Brauron and Mounichia in Attica
arrkteuein
performed choral dances
Artemis
Nausikaa
Max Wegner
molpi
singing
dancing.
Siegfried Laser
Archaeologica Homerica
Tanz
Muzik
ball
gesture of the dance
Agora
Kahil
Sourvinou-Inwood
Lonsdale
choral dance and song in girls 'initation
Nausikaa
Hymn to Aphrodite
dancing in the chorus of Artemis
paizo
Aphrodite
nymps
(106).
ball-playing
Athenaeus
Sophocles
Plyntray
Eustathius
Hainsworth
Heubeck
West
Hainsworth
Sourvinou-Inwood
Locrian Pinax
Persephone
arrhephorai
agoronomoi
paizousi
Leto
H.Ap.
epitrepontai
Apollo
paizonta
Lonsdale
Hesiodic Shield of Herakles 270-85
syringes
phorminges
aulos
games with dance and song
"sound"
"echo"
auleter
auletes
auletris
communal dances
"go forward"
Heravles' shield (?)
shield of Achilles
Il. 18.490 ff.
Odyssey 22.330-53
Phemius
Terpios
clear-sounding phorminx
kill a singer
Telemachus
banquets
Dodds, "The Greeks and the Irrational", 10.
Odyssey 23.129-49
tunics
dressed
playful dance
wedding
splendid dance
merrily dancing men and the beautifully dressed women
Penelope
Nearby was a city of men with fine towers, and seven golden gates, fitted to their lintels, enclosed it. The men were enjoying themselves in reverlies and dances. Some were bringing a bride to her husband on a cart with good wheels, and the wedding song rose loud, while the glitter of blazing torches in the hands of the maidservants whirled round far away. These maidens went in front, delighting in the reverly, and companies of playful dancers followed them. The men sent out a song from their tender mouths, accompanied by shrill syringes, and the sound broke about them;*1 while the girls led the lovely dance with the music of phorminges. On either side young men sported to the sound of the aulos, some playing games with dance and song, some going forward laughing, each to the music of an aulete.*2 Festivities and dances and revels filled the whole city.*3
*1 The word translated "sound" can mean "echo". The metaphor of a sound breaking is a common one, suggesting its dispersal in all directions.
*2 An aulete (auleter, later auletes) is a male player of the aulos. (There is also a form auletris, indicating a female player.) The scene depicted is a little unclear, but the poet seems to be contrasting the communal dances of some of the young men with others who "go forward" individually, each with his own aulete.
*3 The passage as a whole is taken from the description of the decorations on Heravles' shield, and is closely modelled on Homer's account of the shield of Achilles at Il. 18.490 ff.
From the description of the fight in the hall, when Odysseus kills the suitors.
"Phemius the singer, son of Terpios, whom the suitors had forced to sing for them, had so far escaped black death. He was sitting with his clear-sounding phorminx in his hands close to the stairway-door; and he was in two minds, whether to slip out of the hall to sit at the strongly built altar of great Zeus of the Household, where Laertes and Odysseus had burned many ox-tights in sacrifice, or to run forward and pray for mercy at the knees of Odysseus. After pondering it, he desided that it was better to clasp the knees of Odysseus, son of Laertes. So he put down his hollow phorminx on the ground between a mixing-bowl and a silver-studded chair; and he ran forward and clasped Odysseus' knees, pleading with him, with these winged words.
I beseech you, Odysseus. Respect me and have mercy. It will bring harm to you later, if you kill a singer, one who sings for gods and men. I am self-taught, and a god has breathed all kinds of melodies into my mind.*1 I could sing beside you as though to a god. So do not be eager to cut my throat. Telemachus, your dear son, could tell you that I did not come to your house voluntarily or for payment,*2 to sing for the suitors at their banquets, but a large number of people overpowered me and brought me here forcibly".
*1 The two claims are thought of as being perfectly compatible. See Dodds, "The Greeks and the Irrational", 10.
*2 Implying that it would be quite usual for a minstrel to offer himself for hire in a princely house.
Subtle Odysseus answered him with these words. "I will tell you what seems the best thing to me. First wash yourselves and put on tunics, and tell the serving-women in the house to get dressed. Then let inspired singer, holding his clear-sounding phorminx, lead us in a playful dance, so that if someone hears it from outside -anyone passing by, or anyone who lives near- he will think it as a wedding. This will prevent any rumour of the killing of the suitors reaching the town until we can get away into our fields with their many trees. After that we shall see what good luck Olympian Zeus will give us.
So he spoke, and they heard his words and obeyed them. First they washed themselves and dressed in their tunics, and the women put on their finery. Then the inspired singer took up his hollow phorminx, and a longing arose within them for sweet song and the splendid dance. The great house resounded to the feet of the merrily dancing men and the beautifully dressed women. People hearing them from outside all said "Aha! So someone has married the much-courted queen!"
Hephaestus
arms for Achilles
shield
lines 478-608: its references to music
Hesiodic "Shield of Herakles"
hymenaios
hymn to Hymen
Webster with his discussion of Sappho's wedding songs; cf. 23
Sappho fr.44.
procession: II Od. 23. 129-49
Il. 24. 62-3.
Alcinous
kitharis and dances
dancers of the Phaeacians
dancing and song
phorminx
dancing-place
skilled dancers
sacred dance-ground
Odysseus
aneballeto
sing love of Ares ,Aphrodite
"betarmones"
"betarmos"
mean "dance"
Apollonius Rhodius as a deliberate Homericism (1.1135).
"bainein"
"to go"
"to step"
"arariskein"
"to join"
"to fit together"
"harmonizein"
"harmonia"
"step-joiners"
"Paisate"
"play" (like a child)
Il. 3.54, 393-4, 24.261
Od. 6. 64-5
special caracter of one kind of dance
sing and dance
melpesthai
Ares
Hector
Ajax
Il. 7. 241
war dance.
Apollo played
Muses
"Ameibomenai"
antiphonal singing
Hymn to Hermes 55-6
"answering"
the sound of Apollo's instrument
Hymn to Apollo 189.
"Leaders of the dance"
"molpes exarchontes"
"exarhoi"
Il 24.719
acrobatic dance-leaders
"in delight"
Od. 4. 17
banquet given by Menelaus
"delight"
with them sang and danced
emelpeto
"leader" of a dance
Ath. 180b-182a
tragoudi tou Linou)
Grape-picking
baskets
Linus song
ps-Plut. 1132a
"linoidia"
"ai Linon"
"alas for Linus"
"ailinos"
meaning "lament"
meaning "unhappy"
Aesch. Ag.121
Soph. Ajax 627
Eurip. Orestes 1395-7, 42 Helen 171
Herodotus (11.79)
Herodotus 188 and 189
Ath. 174f- 175a, 619f-620a
Pollux IV. 54-5
Athenaeus uses Eurip. Heracles 348 ,(189 619c
Diog. Laert. VIII. 1. 25
Hesiod: " Ourania bore Linus, a most lovely son, whom all mortals that are singers and kitharists bewail at feasts and dances, beginning and ending with an invocation of Linus."
Adonis
Paus. IX.29.8
Sappho's Linus and Adonis songs.
Halios and Laodamas
dance alone
Polybus
ball
betarmones
Nausicaa's musical ball-game
Od.6.99-101.
"Molpe"
"orchestys"
means "dance"
communal song and dance
"But when the suitors had eaten and drunk their fill, their thoughts turned to other matters, to singing and dancing*1, for they are the ornaments of a feast. A herald placed in the hands of Phemius a most beautiful kitharis: he had been forced by the suitors to be their singer. So he played the phorminx and set out on his beautiful song*2.
*1 "Molpe" and "orchestys": here molpe picks out only the element of song, since "orchestys" plainly means "dance". Here the suitors are not sitting quietly listening to the minstrel, but are joining in with communal song and dance: contrast 325-6.
"That is what the illustrious singer sang, and Odysseus was delighted in his heart as he heard it: so too were the others, the Phaeacians of the long oars, famous seafers.
Then Alcinous commanded Halios and Laodamas to dance alone, since no one could compete with them*1. So they took in their hands a fine purple ball*2 which the clever Polybus had made; and one of them would bend over backwards and throw it up towards the shadowy clouds, with the other, leaping upwards from the ground, caught it with ease before touching the ground with his feet. After testing their skill with high throws of the ball, they danced on the fertile earth, rapidly passing the ball to and fro between them, while the other young men stood around the arena beating time, and a great sound went up. Then noble Odysseus spoke to Alcinous.
'Lord Alcinous, most renowed among all the people, you promised that your dancers (betarmones) were the best, and your promise is fullfilled. I am filled with wonder as I watch.'"
*1 This means no more than "they were the best", but the form of expression reflects again the pervasive competitiveness of much Greek musical practice.
Two recent writers in particular have found traces of initation rites in many locations all over Greece. Claude Calame has argued that mani of the ceremonies at which choruses of young girls danced and sang were part of their initation into their adult roles. 6
6 Choruses of Yung Women in Ancient Greece tr. D.Collins and J.Orion (Lantham,MD 1997). This is a translation and revision of Les Choeurs de jeunes filles cited in n. 1
1 C.Calame, Les choeurs de jeunes filles en grece archaique, I (Rome 1977) 90-92.
-----
Perharps the best known are the rites at Brauron and Mounichia in Attica, where girls played the role of a bear (arrkteuein), performed choral dances, and ran races in honour of Artemis. 14
-----
Nausikaa leads the song. It is possible that the girls ony sang, but they may also have danced.30
30. Max Wegner, Musik und Tanz. Archaeologica Homerica. 3U (Gottingen 1968) 42-43 argues that molpi means a combination of singing and dancing.
Siegfried Laser, Sport und Spiel. Archaeologica Homerica. 3T (Gottingen 1987) 91-99 goes further: "Da der Begriff molpi neben Spiel und Tanz auch Muzik umfasst, hat man sich das Spiel der Madchen als einen Reigen vorzustellen, bei dem gesungen und gleichzeitig, ein Ball in gymnastischer Manier in Bewegung gesetzt wurde."
------
Again, a black-figure krateriskos from the Brauronion on the acropolis shows girls clasping hands in a typical gesture of the dance.31
31 Agora P 27342=Kahil, "Le 'caracteristique' d' Artemis... Pl.62=Sourvinou-Inwood pl.4.9 = Lonsdale 191.
----
Calame has, of course, shown in great detail the role of choral dance and song in girls 'initation. 32
32 Calame (n.1) passim. For his discussion of Nausikak, see 160-165.
---
It should also be noted that in the Hymn to Aphrodite, the goddes tells Anchises that she was abduced while dancing in the chorus of Artemis (107-127).Moreover the same verb, paizo, is used both by Aphrodite (120) and in the Nausikaa passage to describe nausikaa and her maidens (100) and Artemis' nymps (106).
----
The ball-playing in this scence seems to have arrested the attention of ancient commentators. Athenaeus records the fact Sophocles distinguished himself with his ball-playing skills in his play Nausikaa or Plyntray, and Eustathius comments palai pote to sfairizein dia spoudis igeto because he was concerned about a lack of gravitas in the scene. 37
37 Hainsworth in A Heubeck, S. West and J.B.Hainsworth, A Commentary on Homer's Odussey, 1 (Oxford 1988) 299 on 6.100.
-----
Homers's audience would have had a different attitude:"For the Greek mentality the ball... had... a double connotation, one chtonic and funerary, the other nuptial and pre-nuptial.The second of the two assotiations may be at least partly derived from the Greek paractice of girls dedicating toys yo divinities on marriage as symbols of childhoud lefet behind, a dedication marking, their passage, to the neew status which was the fulfilment of their destiny. 38
38 Sourvinou-Inwood (above.n 16) 159. citing AP6.280 and commenting on the Locrian Pinax reproduced as pl.15 where a girls offers a ball and cock to Persephone.
-------
In addition, we are told that the arrhephorai had a place prepared for a ball game. 39
-----
At this point the poet interjects a simile comparing Nausicaa to Artemis. In the simile, Artrmis is pictured going through the mountains hunting boars and deer. With her are the country (agoronomoi) nymps who dance (paizousi), delighting Leto, Artemis mother.40
40 Leto's joy at seeing the dance is paralleled in the h.Ap.204-206, where she also takes pleasure (epitrepontai) seeing her son (Apollo) dancing (paizonta). See Lonsdale (above. n.14)52-62 for a discussion of the paradigmatic force of this scene, and 66-67 and 207-210 for an analysis of the simile.
The games are contested. Odysseus shows his mettle with the discus, and challenges all comers at any sport they choose, apart from running. Alcinous makes a courteous reply, and goes on:
"We are not outstanding at boxing or wrestling, but we run swiftly, and are champions sailors; and we continually delight in feasting and the kitharis and dances, in abudant changes of clothes, hot baths, and beds. Come now, those of you who are the best dancers*1 of the Phaeacians, dance*2, so that our guest may tell his friends, when he reaches home, how much we excel all others at seamanship and running and dancing and song*3. Let someone go quickly and bring Demodocus his clear-sounding phorminx. It is lying somewhere in the house.
So spoke godlike Alkinous; and the herald jumped up to fetch the hollow phorminx from the king's house. Then nine stewards stood up, officials of the people, who used to organise everything properly at the games: they smoothed the dancing-place, and cleared a fine, wide arena. The herald came up, bringing Demodocus his clear-sounding phorminx, and he walked into the middle. around him stood young men in the first bloom of youth, skilled dancers, and they beat the sacred dance-ground with their feet. Odysseus watched the twinkling of their feet, and was astonished.
Then Demodokus, as he played the phorminx, set off(aneballeto) to sing beautifully about the love of Ares and fine-wreathed Aphrodite.
*1"Dancers", "betarmones", a word found only in Homer and in late Greek: "betarmos" is used to mean "dance" by Apollonius Rhodius as a deliberate Homericism (1.1135). The word seems to be compounded out of the verbs "bainein", "to go" or "to step", and "arariskein", "to join" or "to fit together". (This verb is etymologically related to "harmonizein", "harmonia".) The sense of the term is therefore "step-joiners": it is probably used to indicate the craftsmanlike skill of these experts.
*2 "Paisate", lit. "play" (like a child).
*3 Notice the ironic echo of Alcinous' previous advertisement of his people's attainments (100-3), before Odysseus had displayed his own physical prowess. Charming though the Phaeacians are, they are rather a soft-living people. On the slightly unmanly connotations of dancing, in some contexts, see Il. 3.54, 393-4, 24.261, and perhaps Od. 6. 64-5. But contrast the special caracter of one kind of dance: "I know how to sing and dance (melpesthai) to terrible Ares, at close quarters', says Hector to Ajax (Il. 7. 241), where he means no more than "I am good at hand-to-hand fighting", but the direct reference is plainly to the war dance.
Part of a description of a banquet of the gods (einai to xorio me ton Apollona kai tis Muses, opou o Webter blepei xoro).
"Thus they feasted all day until sunset, and none of them lacked appetite for the feast that they shared, or for the music of the splendid "phorminx" that Apollo played, or for that of the Muses, who sang, answering one another* with their beautiful voices".
*"Ameibomenai". The reference may be to a form of antiphonal singing, perhaps ancenstor of the practice mentioned at 21 Hymn to Hermes 55-6. But they may be simply "answering" the sound of Apollo's instrument: cf. 19 Hymn to Apollo 189.
"Leaders of the dance", "molpes exarchontes", are parallel to the "exarchoi" of the lament (see Il 24.719 ff). Such acrobatic dance-leaders are sometimes represented on archaic Greek vases. The last lines, from "in delight", recur in our texts of Od. 4. 17, in a description of a banquet given by Menelaus. There after "delight", there occurs the sentence "with them sang and danced (emelpeto) an inspired singer, playing the "phorminx". These words also occurred at one time in texts of the present passage, but were excised by the ancient editors. The excision may be a mistake. Some ancient authorities believed that the whole Odyssey passage was out of place. On the controversy, including the question who counted as "leader" of a dance, see Ath. 180b-182a, which also contains useful information about dancing in general.
"Girls and cheerful boys were carrying the honey-sweet fruit in woven baskets, and in the midst of them a boy played lovely music on his clear-sounding phorminx, and sang the beautiful Linus* song in a piping voice. The others followed him, stamping in unison, skipping on their feet with singing and joyful shouts."
*Linus: a legendary musician (cf.187 ps-Plut. 1132a). According to the commonest tradition, his untimely death provoked universal mourning, commemoradet in Linus song or "linoidia". The exclamation "ai Linon" ("alas for Linus") became a cry used in mourning of every kind: it seems also to have been transformed into a noun, "ailinos", meaning "lament", and an adjectif meaning "unhappy". (Cf. Aesch. Ag.121, Soph. Ajax 627, Eurip. Orestes 1395-7, 42 Helen 171.) According to Herodotus (11.79), versions of the story and the song existed throughout the word: he mentions an Egyptian example. The song is evidently not merely a lament for a musician. The present reference suggests that it was associated with the harvest, and it may well have been a song for a personification of the cycle of nature, fruitful in its death and and renewable through the seed. This would explain the ubiquitouness of forms wich Herodotus recognises as resempling it: cf. 188 and 189 Ath. 174f- 175a, 619f-620a, Pollux IV. 54-5. Athenaeus uses Eurip. Heracles 348 to show that it could be sung on cheerful occasions (189 619c); and the harvest has an appropiately double-sided significance. Dog. Laert. VIII. 1. 25 quotes the following lines of Hesiod: " Ourania bore Linus, a most lovely son, whom all mortals that are singers and kitharists bewail at feasts and dances, beginning and ending with an invocation of Linus." There seem to be links between the Linus story and the cult of Adonis: see Paus. IX.29.8 on Sappho's Linus and Adonis songs.
1. PERSONAL INFORMATION
George (Georgios) Kahrimanis
Born 1958 June 22 in Greece (Pyrgella, Argolis) to Peter (Petros) and Ismene
Citizen of Greece
Address: Pyrgella, 21200 Argos, Greece
Telephone: +30-2.751.066855
Fax: after notification
E-mail: anakreon@hol.gr
2. HIGHER EDUCATION
2.1 Undergaduate degree: Diploma, 1984
Department of mechanical engineering
National Techical University of Athens, Greece
Grade: 7.08 / 10 ("very good")
2.2 First postgraduate degree: Master of Arts, 1990
Department of physics and astronomy
The University of Texas at Austin, U.S.A.
Thesis: Pion-nucleus elastic scattering on 12C, 40Ca, 90Zr, and 208Pb at 400 and 500 MeV (preliminary results)
Supervisor: C. Fred Moore
2.3 Ph.D., 1995
Subject: experimental nuclear physics
Department of physics and astronomy
The University of Texas at Austin, U.S.A.
Dissertation: Pion-nucleus elastic scattering on 12C, 40Ca, 90Zr, and 208Pb at 400 and 500 MeV: data and interpretations
Supervisor: C. Fred Moore
Dissertation Committee (including external examiner):
C. Fred Moore, Christofer L. Morris (e. e.), Gerald W. Hoffmann, Peter J. Riley, and Lothar W. Frommhold.
3. TEACHING EXPERIENCE
3.1 As a Ph.D.
No officially teaching position, but a research position in Southern University at Baton Rouge (see 4.1) also included working with and supervising of students.
3.2 Before Ph.D.
Department of physics and astronomy, The University of Texas at Austin, U.S.A
Aug. 1985 -- Jan. 1987, physics lab instructor for engineering undergads, 6 h/w
Feb. -- May 1987, physics lab instructor for paramedical students, 4 h/w
Feb. -- May 1987, tutor for undergraduate students, 2 h/w
4. RESEARCH EXPERIENCE
4.1 As a Ph.D.
Southern University at Baton Rouge, Louisisana, U.S.A.
Assistant researcher
Feb. -- June 1998
NESTOR Institute, Greece
Visiting researcher
Aug. 1999 -- Dec. 2000
4.2 Before Ph.D.
Los Alamos Meson Physics Facilities, New Mexico, U.S.A.
Visiting researcher
1987-90, 1990-92, 1994
(Partially overlapping with the doctoral dissertation)
State University of New Mexico at Las Cruces (while at LAMPF)
Assistant researcher
Nov. 1994
(Partially overlapping with the doctoral dissertation)
5. PROFESSIONAL EXPERIENCE
Coincides with the research and teaching experience.
6. RESEARCH WORKS
6.1 Books or monographs
Not any.
6.2 Refereed publications in journals
- G. Kahrimanis et al. Pion-nucleus elastic scattering on 12C, 40Ca, 90Zr, and 208Pb at 400 and 500 MeV.
Physical Review C 55, 5, p. 2533-40 (1997).
- Y. Grof et al. Double giant resonances in pion double charge exchange on 51V, 115In, and 197Au.
Phys Rev C 47, 4, p. 1466-73 (1993).
- H. Ward et al. Double giant dipole resonance in the (đ-, đ+) reaction.
Phys Rev C 45, 6, p.2723-32 (1992).
- E. Gülmez et al. Elastic scattering of N-, L-, and S-type polarized 794-MeV protons from an ND3 target polarized in the S-L plane.
Phys Rev C 45, 1, p. 22-34 (1992).
- A. L. Williams et al. Mass dependence of high-energy pion double charge exchange.
Phys Rev C 44, 5, p. 2025-30 (1991).
- C. F. Moore et al. Angular distributions for the double isobaric analog and a T< state at high excitation in pion double charge exchange on 93Nb.
Phys Rev C 44, 5, p. 2209-12 (1991).
- S. Mordechai et al. Comparison of the double giant-dipole states observed in (đ-, đ+) and (đ+, đ-) reactions on 40Ca and 27Al.
Phys Rev C 43, 4, p. R1509-12 (1991).
- A. L. Williams et al. Pion double charge exchange on 42,44,48Ca for 300< Tđ<550 MeV.
Phys Rev C 43, 2, p. 766-70 (1991).
6.3 Refereed publications in conference transactions
- G. Kahrimanis. Using some "prior" when there is no prior,
Advanced statistical techniques in particle physics. Proceedings, conference, Durham, UK, March 18-22, 2002.
Ed.: Whalley, Mike R. and Lyons, Louis.
Durham: Durham Univ., 2002. - 333 p. (IPPP-02-39) (DCPT-02-78), p. 157-164;
(The foundation of that work has been superseded by recent work.)
- C. L. Morris et al. Anti-analog States Observed in Pion Double Charge Exchange,
Proc. of the Second LAMPF Int. Workshop on Pion Double Charge Exchange, Los Alamos National Laboratory, Los Alamos, NM, Aug 9-11 1989.
6.4 Other publications in collective volumes
Not any.
6.5 Conference presentations
- Advanced Statistical Techniques in Particle Physics
Institute for Particle Physics Phenomenology, Durham, U.K. 18-22 Mar. 2002
Organizing Committee
Roger Barlow (Manchester), Bob Cousins (UCLA) , Glen Cowan (RHBNC) , Fred James (CERN) , Dean Karlen (Carleton), Jim Linnemann (Michigan State), Louis Lyons (Oxford) , Bill Murray (Rutherford Lab) , Harrison Prosper (Florida State) , Pekka Sinervo (Toronto) , and James Stirling (IPPP Durham). Local organizers: James Stirling (IPPP), Mike Whalley (IPPP), and Linda Wilkinson (IPPP, Conference Secretary).
Title: (finally) Using some "prior" when there is no prior
- Society for Music Perception and Cognition, Conference '95 (SMPC95)
University of California, Berkeley 22-25 June 1995
Chairman: David Wessel (Center for New Music and Audio Technologies)
Organizers: CNMAT, Department of music, Department of psychology, and SMPC
Title: German Sixth requires a different intonation than Dominant Seventh: speculation and experiment
6.6 Other peer-reviewed works.
- George Kahrimanis and Ali Fazely. Search for íě-to-íe transition, using the exclusive reaction 12C(íe,e)12Ngs: Bayesian calculations and interpretations (1999; updated with minor corrections and a revised foundation 2001).
LSND (Los Alamos National Lab): "LSND Technical Note 131".
- G. Kahrimanis. German Sixth requires a different intonation than Dominant Seventh: speculation and experiment,
Program and Abstracts for SMPC95 p.58 (see Section 6.5).
The following papers present technical developments and preliminary findings.
- S. Mordechai et al. Double Giant Resonance in Pion Double Charge Excahnge on 51V, 115In, and 197Au,
Bull. Am. Phys. Soc. 37, 1291 (1992)
- H. Ward et al. Observation of the Double Giant Dipole Resonance in (đ-,đ+) Double Charge Exchange,
Bull. Am. Phys. Soc. 36, 99 (1991).
- C. F. Moore et al. Configuration States at High Excitation in Heavy Nuclei Observed in Pion Double Charge Exchange,
Bull. Am. Phys. Soc. 35, 947 (1990).
- C. F. Moore et al. Anti-Analog States at High Excitations in Heavy Nuclei Observed in Pion Double Charge Exchange,
Proceeding of the PANIC XII International Conference on Particles and Nuclei, M.I.T., p.III-78, (1990).
- M. Begala et al. Measurement of two and three-spin parameters in p-d elastic sacttering at 800 MeV,
Bull. Am. Phys. Soc. 33, 1472 (1988).
6.7 Preprint, in advanced draft form.
- G. Kahrimanis. Analysis, based on the calculus of probability alone, of combined location measurements without prior probability.
Current version: http://users.hol.gr/~anakreon/kahr3_ps.gz
Older version available at arXiv (http://arXiv.org/abs/physics/0203090).
7. CITATIONS
--- Of G Kahrimanis et al, Physical Review C 55, 5, p. 2533-40 (1997).
- D J Ernst. Mesonic cloud contribution to the nucleon and Delta masses.
Phys Rev C 64, 3, art. no. 035201 (2001).
- C J Gelderloos et al. Reaction and total cross sections for 400-500-MeV đ- on nuclei.
Phys Rev C 62, 2, art. no. 024612 (2000).
- S W Hong and B T Kim. Phenomenological local potentials for đ- + 12C scattering from 120 to 766 MeV.
J of Physics G 25, 5, p. 1065-1078 (1999).
- S W Hong et al. Calculation of Lambda-production crosss sections in 12C(đ+, Ę+)12C Ë.
J of the Korean Physical Soc 34, 1, p. 9-17 (1999).
- C M Chen, M B Johnson, and D J Ernst. Forward elastic amplitudes of high-energy pions and kaons on nuclei.
Phys Rev C 58, 6, p. 3500-3507 (1998).
- B C Clark et al. Pion-nucleus scattering at medium energies with densities from chiral effective field theories.
Phys Lett B 427, 3-4, p. 231-234 (1998).
--- There is an older citation of a "communication", in the same subject:
- C M Chen et al. Pion-nucleus scattering and baryon resonances in the nuclear medium.
Phys Rev C 52, 2, p. R485-R489 (1995).
There are at least other 47 references (up to 2001) to papers of which I am not the first author. Here I sample three of them.
- M Oinonen et al. Ground-state spin of 59Mn.
Eur. Phys. J. A 10 p. 123-127 (2001).
- T. Aumann, T.F. Bortignon, and H. Emling. Multiphonon giant resonances in nuclei.
Annu. Rev. Nucl. Part. S 48 p. 351-399 (1988).
- Ph. Chomaz, N. Frascaria. Multiple phonon excitation in nuclei; experimental results and theoretical descriptions.
Physics Reports 252 p. 275-405 (1995).
8. OTHER WORK
For example, the memoranda I have submitted to NESTOR Institute (1999-2000).
Planned future work After publication of the preprint "Analysis, based on the calculus of probability alone, of combined location measurements without prior probability", I plan to generalize the analysis for generic measurements. I anticipate that so the so-called Jeffreys' prior will be proved to provide logically consistent predictive inference.
9. DESCRIPTION OF WORKS
9.1 Experimental nuclear physics
Elastic scattering of N-, L-, and S-type polarized 794-MeV protons from an ND3 target polarized in the S-L plane. The simplest composite nuclide is deuterium, so that proton-deuterium scattering is useful in studying (a) the three-nucleon interaction and (b) the off-mass shell traits of the two-nucleon ineraction. The target was polarized with a magnetic field 2.5 T in temperature 0.45°K. To check accuracy, several of the measurements have been designed to be comparable with ones from previous experiments; also, in some cases we expect zero outcome, because of symmetry. In each test, ÷2 per degree of freedom is found between 1.3 and 1.7; that is, no significant discrepancies have been observed. For comparison with theoretical approximations, we apply relativistic models of multiple scattering. The predictions of the Relativistic Impulse Approximation do not match the data, but with the assumption of additional dependence of the off-mass shell interaction on derivative (QCD) meson-nucleon couplings (which have been phenomenologically determined from previous experiments) we obtain general agreement with the data.
Pion double charge exchange on 42,44,48Ca for 300
Mass dependence of high-energy pion double charge exchange. Previous experiments with several nuclides indicate that the cross section of double charge exchange between 300 and 500 MeV is nearly constant. On the other hand, so it is predicted by three models. Based on those, we study the dependence of the cross section on the mass and the isospin of the target. In these experiments we have used 26Mg, 46,50Ti, 54,56Fe, 52Cr, 80Se, 90Zr, 197Au, and 208Pb. Along with these, we have included the data from earlier measurements using 42,44,48Ca. The data show significant deviation from the predictions, especially for 42Ca. However, another expectation was confirmed, that, due to deeper probing of the nucleus, the mass dependence of the cross section be less pronounced than at the energy of the Resonance Ä3/2,3/2 (190 MeV).
Angular distributions for the double isobaric analog and a T< state at high excitation in pion double charge exchange on 93Nb. The first differential cross section that has been measured for a double isobaric analog state of a heavy nuclide. Incoming pion energy was 285 MeV. In the spectrum of the missing mass after scattering, at least one more resonance peak is observed, for which some possible causes are offered, though no conclusive explanation yet.
Comparison of the double giant-dipole states observed in (đ+, đ-) reactions on 40Ca and 27Al. In the missing mass spectrum of pion double charge exchange, we observe a resonance nearly 30 MeV over the ground state. (It can also be expressed as a net loss of about 50 MeV.) After comparison of spectra from (đ-, đ+) with those from (đ+, đ-), with targets made of 40Ca and 27Al, and measurements at several angles (which indicate quadrupole radiation), we conclude that the peak corresponds to a double giant dipole resonance.
Double giant dipole resonance in the (đ-, đ+) reaction. Follow-up of the the previous observation, using 13C, 27Al, 40Ca, 56Fe, 59Co, and 93Nb, to test that conclusion. We take into account certain factors which explain, to a large extent though not completely, the observed energy relations, the angular dependence, the amplitude, ratios of cross sections, and the dependence on atomic mass. We also examine the "continuous" part of the energy spectrum of each nuclide, which is associated with electrical polarization of the nucleus.
Double giant resonances in pion double charge exchange on 51V, 115In, and 197Au. Continuation of the two works mentioned above, using heavy nuclides. We look for possible correspondence with known nuclear structures. Besides studying the double giant dipole resonance, we also study the giant dipole resonance of the isobaric analog state.
Pion-nucleus elastic scattering on 12C, 40Ca, 90Zr, and 208Pb at 400 and 500 MeV. The most important conclusion was the disagreement of the results with every calculation based on the available models (though the general features of the data were as expected). The parameters of each model had already been estimated from previous experiments involving simpler interactions; we only had to check whether those models are adequate in this kind of scattering. All models were based on the "impulse approximation" of the scattering process. We did not calculate the significance of each deviation between data and predictions, because it was obvious; the undisputed conclusion is that we need better models. Remarkably, the deviation is apparent even at rather small scattering angles, in the area where the impulse due to electromagnetic interaction is roughly equal with that from nuclear interaction.
Search for íě-to-íe transition, using the exclusive reaction 12C(íe,e)12Ngs: Bayesian calculations and interpretations. A small data sample was used to probe a difficult issue, therefore the statistical component of the problem is dominant. The aim was to estimate two parameters of the oscillation model. First the likelihood was calculated (taking into account the correlations of the systematic errors) and then it was multiplied by a supposed prior probability density function, chosen homogeneous in the usual parametrizations of the two unknown constants. This was an arbitrary choice but the results would be practically the same for a wide class of prior pdfs. That is, following the Bayesian approach, we overlooked that there is no objectively definable prior probability. (My current opinion is that such nonexistence should not be overlooked.) Although flawed, the Bayesian approach is still a practical necessity because the alternative, the "classical" (Neyman) method, may lead to unacceptable confidence intervals, especially when the samples are small. (Moreover, predictive inference based on confidence intervals is problematic.) However, a classical test for goodness of fit may follow a Bayesian analysis, to quantify the emergence of an oscillation pattern in the data. The Kolmogorov-Smirnov test regarding the statistic L/E would fit this question, but unfortunately (mea culpa) the paper includes a P-value test for data bins of E and L, which is non-specific to this issue. Results: the maxumum likelihood was at Ä(m2) = 10 eV2 and sin2(2č) = 0.015; the 90% Bayesian confidence region included a long tail, as expected; the P-value goodness of fit was 47% (that is, about average).
9.2 Foundations of data analysis (Statistics)
Using some "prior" when there is no prior. I no longer support the assumptions in this work; they have been superseded by the analysis in the paper outlined below ("Analysis, based on [...]"). The so-called Objective Bayesian approach appears plausible to an experimental physicist. The starting point in this work is the "location" measurement (when the pdf of the error is given and invariant) to which we assign a uniform false prior. Then we imagine a gradual distortion of this statistical model; accordingly, we explore how statistical inference is modified by model distortion. There is also the issue of when is it appropriate to apply this objective approach and when it makes sense to apply some expert's intuitive pdf.
Analysis, based on the calculus of probability alone, of combined location measurements without prior probability.
Motivation. "Location measurement" means the pdf of the error is known. When the datum is obtained, intuition suggests something like a pdf for the parameter; here we attempt a critical examination of its meaning.
Summary. In default of prior probability the parameter is not defined as a random variable, hence there can be no genuine prior-free parametric inference. Nevertheless prior-free predictive inference regarding any future datum is generated directly from the datum of a location measurement. Such inference turns out as if obtained from a certain pdf ("fiducial") indirectly associated with the parameter. This false pdf can expedite predictive inference, but is inappropriate in the analysis of combined measurements (unless they all are location measurements of the same parameter). Also it has the same distribution as the ostensible Bayesian posterior from a uniform "prior". However, if any of these spurious entities is admitted in the analysis, inconsistent results follow. When we combine measurements, we find that the quantisation errors, inevitable in data recording, must be taken into consideration. These errors cannot be folded into predictive inference in an exact sense; that is, we cannot render a predictive distribution of a future datum except as an approximation.
9.3 Psychomusicology
German Sixth requires a different intonation than Dominant Seventh: speculation and experiment. Considering the currently prevalent theories, although their foundations are diverse, they agree on this point: the proportions of the major triad maximize consonance, as defined in each theory. The minor triad is rated as of inferior consonance, a distortion of the major triad; its cohesion is credited to a certain resemblance to the major triad, inasmuch as the same intervals are involved in both chords, in a different order. Yet, since the 16th Century (at least) a certain hypothesis is discussed occasionally, called "Harmonic Dualism", that the unity of a chord is not due to a single all-encompassing law but rather to a synthesis of two opposite principles: the frequencies of the tones should be (at least approximately) either simple multiples or simple submultiples of the fundamental tone associated with the chord. In this way, the minor triad is assigned to a distinct sort of chord (e.g. C-minor is formed by submultiples of G). Dualism has had eminent supporters (e.g. Rameau, Goethe, von Oettingen, Riemann; even Helmholtz regarded it as interesting) but also detractors (e.g. Hindemith). It seems that the issue is confused by certain misinterpretations that can be corrected. Moreover, we can deduce falsifiable consequences of Dualism, if it is combined with criteria regarding the temporal succession of chords. I present the results of such experiments.
