This paper contains a survey of studies that demonstrate a new sensitivity, established over time, towards the performative dimension of ancient Greek poetic texts. Focus on the public and on the idea of consumption less as reading and more as a ‘show’ first emerged in the 1980s if not earlier, and at the same time more in-depth research on music has had a great impact on metrical studies, giving metricists a new opportunity to distance themselves from a purely verbal approach to the versified text and to turn profitably to the semantic and dramaturgical aspects implicit in the ‘scores’ of meters and rhythms.
In Book 8 of the Politics Aristotle argues that because music can ‘fashion the character of the soul’ (1340b12) it merits a place in the paideia, the education, of the young. He then asks whether it is sufficient for students ‘to enjoy the playing of music by others’ (1339b6) or must they ‘learn by singing and actually putting their hands to the playing of instruments?’ (1340b21)? His answer will be the latter but only ‘up to a point’ (mechri tinos: 1337b15). The purpose of this paper is to explore why he thinks this. As we shall see, pursuing this question will lead to a far more general one: why does Aristotle impose strict limits on the role of technical knowledge (technē), including the playing of musical instruments, in the education of free citizens?
The protection of whistleblowers in healthcare is necessary to ensure quality of care by raising concerns about suspected breaches of human rights and Union law. This protection has evolved over the years through initiatives from the European Council, which were also taken into account in two rulings of the European Court of Human Rights, and the European Parliament. However, these initiatives implement a general framework rather than focussing directly on healthcare. This article therefore starts from analysing the general protection. Hereinafter, the relevance for the healthcare sector will be examined for each of the involved initiatives.