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In his “Story of Demaratus”, Herodotus presents the Pythia as having been corrupted by king Cleomenes of Sparta in order to expose his colleague Demaratus as a bastard and therefore unable to rule. The episode has often been regarded as realistic, if not altogether factual. However, a thorough study of the passage shows that the corruption of the Pythia is only one link in a great narrative chain of corruption in which the protagonists are all ultimately punished. Moreover, Herodotus’ account proves that, despite being corrupted, the Pythia nonetheless tells the truth even if no one initially recognizes it as such. In the final analysis, then, the mendacious political speech of Cleomenes proves to be true in the historical account of Herodotus as it remains impossible to separate the corruption of the Pythia from the larger narrative; impossible too to indict Delphi with dishonesty.
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The first part of this paper attempted to shed light on the context of the decree IG II2 204 (352/351 BC). In a tense atmosphere, the Athenians are arguing with the Megarans over a sacred land in Eleusis and, in order to know if this piece of land could be cultivated, consult the Pythia in a way that seems disrespectful of Delphi. The second part of this paper then proceeds to an exploration, very often ab absurdo, of the alleged political issues pertaining to this consultation (e. g. defiance against the Pythia and Delphi, protection of the Pythia in a tense situation, economic interests). Ultimately, Athens consulted Delphi only about a “religious” problem, demonstrating absolutely no concern about any potential impact on its relations with Megara and its powerful allies. The consultation thus has to be understood as arising from Attica’s internal preoccupations, rather than proof of the risk of a potential Delphic interference in the political affairs of Athens or any other Greek city.,La première partie de cette étude a tenté de définir le contexte du décret IG II2 204 (352/351 av. J.-C.), où Athènes, dans une atmosphère tendue, dispute aux Mégariens l’orgas d’Éleusis et, pour savoir si cette terre pourrait être cultivée afin d’en retirer des revenus sacrés, consulte la pythie en des termes qui semblent trahir une réelle défiance. Dans cette seconde partie, l’analyse, souvent par l’absurde, des soi-disant enjeux politiques de la consultation (défiance envers la pythie et Delphes, protection de la pythie dans un contexte tendu, intérêts économiques), démontre qu’Athènes ne consulte que pour la question “religieuse” de la mise en culture, sans nullement se soucier des conséquences potentielles de ses relations musclées avec Mégare et ses puissants alliés. Cette consultation doit donc être lue uniquement à la lumière de préoccupations internes à l’Attique, et non comme la preuve du risque d’ingérence delphique dans les affaires internationales d’Athènes ou des cités grecques en général.
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Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity
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Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity
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Peru's Truth and Reconciliation Commission not only documented the political violence of the 1980s and 1990s but also gave Peruvians a unique opportunity to examine the causes and nature of that violence. In Art from a Fractured Past, scholars and artists expand on the commission's work, arguing for broadening the definition of the testimonial to include various forms of artistic production as documentary evidence. Their innovative focus on representation offers new and compelling perspectives on how Peruvians experienced those years and how they have attempted to come to terms with the memories and legacies of violence. Their findings about Peru offer insight into questions of art, memory, and truth that resonate throughout Latin America in the wake of "dirty wars" of the last half century. Exploring diverse works of art, including memorials, drawings, theater, film, songs, painted wooden retablos (three-dimensional boxes), and fiction, including an acclaimed graphic novel, the contributors show that art, not constrained by literal truth, can generate new opportunities for empathetic understanding and solidarity
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