Beyond Marble, Medicants & Myth: Epidaurus' History, Material Culture, Purpose and Place in the Greater Mediterranean Area

'The most famous of sanctuaries of Asclepius had their origin from Epidaurus’, Pausanias writes in his Hellados Periegesis (‘Description of Greece’). All across the Aegean and beyond, word of the salutary reputation of Epidaurian divinity had spread. And as tales of Epidaurus’ sanctuary of Asclepius travelled the lands and crossed the seas, so did the urge to ensure that the Epidaurian success formula was, as we say, coming soon to a place near you. So we know Epidaurus had managed to make a name for itself: all the way from the Argolid Peninsula to Asia Minor and the shores of Northern Africa. But what exactly had led to its rise in prominence? What about Epidaurus allowed for it to transcend its local cult-status? And how did its celebrated reputation and meaning change across places and time? What, in other words, is the story of what is often simply referred to as the sanctuary of Asclepius at Epidaurus

The experience of pilgrimage in the Roman Empire: communitas, paideiā, and piety-signaling

Pilgrimage of various types is well attested in the pre-Christian religions of the Roman Empire, but there is comparatively little evidence for the personal experiences of pilgrims. Some recent studies have argued that typical pilgrims of this period were members of the intellectual elite highly versed in literary culture (paideia) who saw sacred places as museums of Greek culture. In this paper, I try to reconstruct what we can about the experience of pilgrimage in early Roman Empire, looking at three cases studies: a. Philo’s somewhat idealized account of Jewish pilgrimage to Jerusalem, which stresses intense common feeling (or communitas, to use Victor Turner’s term) between participants; b. Pilgrimage to the oracle of Apollo at Claros, to which cities of Asia Minor and elsewhere sent sacred delegations, largely made up choirs of children who performed hymns at the sanctuary. It may be suggested that the experience of the pilgrimage was in large part an educative one - learning about Greek culture and learning how to behave in public; itmight even be seen as a sort of rite of passage. c. The healing-pilgrimages of Aelius Aristides to Pergamum and elsewhere. Aristides’ experience at Pergamum is full of paideia, though that was not the primary motivation, and it sometimes approaches communitas, though in the end the presence of other people tends to serve the purpose of an audience and foil for his own brilliance. Key aspects of his experience seem to be: a) suffering and b) a feeling of closeness to the god, sometimes bordering on identification with him

Hair today, gone tomorrow: the use of real, false and artificial hair as votive offerings

No abstract available

Galen, divination, and the status of medicine

Galen's stories about his successes in predicting the development of an illness belong to the best-known anecdotes drawn from his writings. Brilliant pieces of self-presentation, they set Galen apart from his peers, who tried to cover up their ignorance by levelling accusations of magic and divination against their superior colleague. These accusations are usually interpreted as very real threats, as Roman law punished illicit magic and divination. Pointing out that Galen sometimes likes to present himself as a mantis and a prophet, others have suggested that the accusations against Galen and his own self-presentation indicate that the border line between medicine and religion was still fluid. Both approaches correctly draw attention to the social reality that the accusations betray: they suggest that Galen belongs to a group of healers of dubious standing that populated the empire and thus show that medicine did not have a monopoly on healing. Yet such a socio-historical approach may not be sufficient. For one thing, both explanations have their limitations. Regarding the former, it can be said that Augustus' prohibition of divination aimed at controlling prediction about the emperor and one can doubt that a widespread clampdown of all forms of divination ever was intended. A possible objection to the second view is that throughout his oeuvre Galen emphasizes his medicine as a rational undertaking, even as a science (episteme). If one takes his self-presentation as a mantis to be more than metaphorical and to indicate the not yet fully crystallized identity of medicine as a separate scientific discipline, then Galen's usual way of understanding his own craft as a science' is in need of explanation. Besides such possible objections, a different set of questions still needs to be asked: why precisely were accusations of practising magic and divination levelled against Galen and why do they recur so frequently in his writings? Why divination and not, say, poisoning

The grammatical puzzles of Socrates' last words

Socrates says "we owe" in the last words as head of his οἶκος, a collectivity owing a debt for the recovery from disease of one of Socrates' young sons. Socrates addresses Crito in the plural as head of his οἶκος, whose servants will perform the sacrifice as their master directs. Socrates had instructed that the youngest son be brought to the prison. The baby's presence is not adventitious, for had Socrates primarily summoned Xanthippe, the baby would have been left at home in the care of the οἰκεῖαι γυναῖκες. The dying Socrates instructs that the debt be paid for the baby who recovered from a bout of illness and did not die. The rhetorical arrangement of the facts that inform the instruction (dying/speaking versus not yet talking/living) is Plato's invention

Erik Satie’s Socrate (1918), Myths of Marsyas, and un style dépouillé

In arguing that underneath the placid, 'stripped-down' style of Socrate there lurks a hidden violence, this essay does not focus on Satie's compositional process, documented in his notebooks; instead, it examines Socrate's performance history and the creation of the work's libretto, which the composer completed before sketching his musical ideas. Satie's novel selection and setting of the text is critical to this reading. The author examines how Satie reinterprets the violent myth of Marsyas and Apollo in the first movement, and how he ruminates on Socrates's dying words in the last movement. Understanding the ideas and events that led to the creation of Satie's enigmatic masterpiece allows us to view Socrate's portrayal of Plato's dialogues as part of a project of dépouillement, a neoclassical aesthetic that sought to strip down musical material in favor of an ascetic aesthetic uniting musical and moral Hellenism. This reading of Socrate allows us to reexamine the early 20th-century style dépouillé and to place Socrate at the center of debates on Socrates, Hellenism, and morality

Healing Images: A Historical Outline of their Use in Western Medical and Psychotherapeutic Traditions

The ancient literature of numerous cultures abounds with accounts of spectacular cures resulting from the imaging process. These accounts are now being corroborated by a growing body of clinical and experimental evidence. The effectiveness of mental imagery in the treatment of a wide variety of problems has been convincingly documented (Sheikh, 1983). This paper outlines the use of imagery in Western medical as well as psychotherapeutic traditions. It concludes with a discussion of the reasons that make imagery an excellent healing agent

Michel Foucault: Der Mut zur Wahrheit (1984): The 9th Technology of Otherness (a certain kind of debt)

Classical metaphysics requires a concept of the ethical that belies or erases certain forms of truth-telling, often pulling the ethical in the direction of more sterilized forms of reason and rationality in order to invoke its universal applicability as a kind of ‘one-size-fits-all’ for any person, place, time, or thing. In so doing, not only does this tend to diminish or expunge the sensuous, carnal encounters of body and spirit, it pre-figures certain forms of courage, care and imagination so that the very core of what it means to make a community alive, responsive, and creative remains stuck in the old classical canons of thought and practice. In this way, the beliefs and ‘truths’ that tend to be reproduced serve only to strengthen the status quo’s status – somewhat of a problem if that status quo’s status is also mired in misogynist, homophobic, ethnic and/or racially divisive traditions. The 9th Technology of Otherness, building upon Foucault’s Courage of Truth, the last lecture series before his untimely death, seeks to show how an ethics drawn along the sensuous modalities (as Foucault positions them) of courage (parrhēsia) and curiosity (zētēsis), creates a certain form of community, a certain kind of self, and with it, a certain kind of debt. It is precisely this debt that Socrates reminds Crito ‘not to forget to remember to pay’ to Asclepius, and to do so with the now quite infamous gift of the bird-cock