The Reflection in Movements From Mysthical to Rational Thought and From Religion to Philosophy in the Transitional Society of Mytilene at the End of the Archaic Period (8th-5th Century B.c) a Study on Sappho's “Ode to Anaktoria”(fragment 16)

This article discusses Sappho's “Ode to Anaktoria” (fragment 16) poem as a ‘marginal' product of an aristocratic intellectual in the transitional society of Mytilene at the end of the Archaic Period (8th-5th century B.C.). Sappho (born 610 ¾ died 570 B.C. app) a renowned Greek lyric poetess and musician who is greatly admired in all ages for the beauty of her writing style. Plato's 16th epigram dedicated to her reads “Some say there are nine Muses; but they should stop to think. Look at Sappho of Lesbos; she makes a tenth”. Sappho is additionally ranked among the Nine Lyric Poets esteemed by the scholars of Hellenistic Alexandria as worthy of critical study. “Ode to Anaktoria” is read through the historic-political concept of hegemony as suggested by Gramsci. In this view, the moment of “hegemony” or of cultural leadership is systematically upgraded precisely in opposition to the mechanistic and fatalistic concepts of economism. Sappho's fragment 16 doesn't only indicate defiance to androcentric (epic) categories; she suggests nonnormative, thus new, ways of contemplating life (lyric).

$QDOLVD -RXUQDO RI 6RFLDO 6FLHQFH DQG 5HOLJLRQ UHOHDVHG D QHZ HGLWLRQ YRO QR 7KLV LV WKH WKLUG HGLWLRQ SXEOLVKHG LQ (QJOLVK VLQFH LWV EHJLQQLQJ LQ 7KLV YROXPH UHOHDVHG LQ WKH PLG RI YDULRXV DFWLYLWLHV DQG WKH KHFWLF VFKHGXOH LQ WKH RdFH +RZHYHU WKLV HGLWLRQ LV SXEOLVKHG DV scheduled. Many people have contributed in this edition so that publication process of the journal is managed smoothly. The month of June in which this journal on the process of publishing is a month ZKHQ 0XVOLP SHRSOH DURXQG WKH ZRUOG FHOHEUDWHG WKH ,HG )LWU WKHUHIRUH ZH ZRXOG DOVR FRQJUDWXODWH to all Muslim fellows to have happy and blessing day on that occasion. This volume consistently issues eight articles consisting some topics related to Analisa scopes as follows; religious education, religious life, and religious text. Those articles are written by authors IURP GLcHUHQW FRXQWULHV LQFOXGLQJ ,QGRQHVLD $XVWUDOLD ,QGLD DQG *UHHFH 7KUHH DUWLFOHV FRQFHUQ on the education, one article focuses on the life of Hindu people. Furthermore, three articles discuss about text and heritage, and the last article explores on the evaluation of research management. We do hope you all enjoy reading the articles.  Since the period of time and the society in question of this article is far distanced from the modern and post-modern theories which are attempted to be employed a certain point of view about history should be clearly delineated DQG H[SODLQHG LQ GHWDLO :H ZLOO IROORZ /XNDFV FRQ¿UPLQJ 5LNHUW ¶V QRWLRQ RI universal history, that "the totality of history is itself a real historical power -even though one that has not hitherto become conscious and has therefore gone unrecognised -a power which is not to EH VHSDUDWHG IURP WKH UHDOLW\ DQG KHQFH WKH NQRZOHGJH RI WKH LQGLYLGXDO IDFWV ZLWKRXW DW WKH same time annulling their reality and their factual H[LVWHQFH ,W LV WKH UHDO XOWLPDWH JURXQG RI WKHLU reality and their factual existence and hence also of WKHLU NQRZDELOLW\ HYHQ DV LQGLYLGXDO IDFWV Lukacs, 1923).´ +HQFH ZH ZLOO GUDZ IURP WKH LQGLYLGXDO PHGLD L H ³2GH WR $QDNWRULD´ FRQFOXVLRQV DERXW the society in which it is produced as a whole, and such a wrap up is possible because "intellectual genesis must be identical in principle with KLVWRULFDO JHQHVLV´ /XNDFV

THEORETICAL FRAMEWORK
6DSSKR ¶V ³2GH WR $QDNWRULD´ LV ¿OOHG ZLWK irony, mimicry and repetition, which Bhabha contends to be unconsciously employed by the colonized yet such an action results to undermine LGHQWLWLHV DQG VHOI LGHQWL¿FDWLRQV WR RFFXU DPRQJVW its members. On the other hand, other ideas and practices are bound to be considered deviant, or not form part, of the society's identity, and thus, partly rejected or even rejected in their totality, hence constructing the other. The relations between those ideas and the persons that embody them are an important path to approach the marginal ideologies and the marginality as a position.
,W WKXV OHDGV IURP WKH LPSRUWDQFH RI FXOWXUDO and intellectual factors in historical development, to the function of great intellectuals in the organic life of civil society or of the state, to the moment of hegemony and consensus as the necessary form of the concrete historical bloc, overlapping in a nonlinear fashion. The move from mythical to rational thought, from religion to philosophy, is caught here in a moment of transition. Sappho is progressing toward analytical language, toward the notion of GH¿QLWLRQ RI ORJLFDO FDWHJRULHV RI VXERUGLQDWLRQ and hypotactic structure. Her ability to do so concurs in time with the invention in eastern Mediterranean, in nearby Lydia, of coined money, a step which Aristotle sees as enabling abstract thought, as permitting the recognition of abstract value. The exchange between persons who are GLcHUHQW EXW HTXDO UHTXLUHV DQ HTXDOL]HU

Historical and Social context (of thought) in Archaic Lesbos
The invention of money allows things, even men, to be measured by a common standard. Sappho measures men and women and things not by setting them in a hierarchy, in a situation of relative value, but against a common standard. ,Q WKLV PHGLD L H WKH $QDNWRULD SRHP WKLV standard is set to be virtue. The limitations of this article don't allow a thorough contemplation on the 'virtue' category. Nevertheless, a brief explanation is deemed necessary in order to JUDVS LQ LWV FRPSOH[LW\ WKH VSHFL¿F VWUXFWXUH DQG the subsequent analytical movement pondered E\ 6DSSKR 0XFK OLNH RWKHU VRFLHWLHV $UFKDLF Greece has also suggested its own ideas on the notion of 'virtue'. Ritual not only asserts the unity of the society or the group in the presence of the divine, but FDQ DOVR HcHFW D SHUVRQDO WUDQVDFWLRQ ZLWK GLYLQH powers. This underscores the private function of ritual. The ritualized language and situation of the hymnos kletikos may have served to relate Sappho's personal experiences to a social context. +HU GH[WHULW\ DQG ZLW LQ HYRNLQJ WKH ORYH JRGGHVV and is creating a suitably graceful atmosphere for her epiphany themselves attest to her mastery of ORYH ¶V YLROHQFH Segal, 1996: 63).
Most of the fragments of any length that have come down to us contain the memories of girls who returned to their native lands, most often Asia Minor, or left Sappho for a rival school. 5 Those fragments are proof of the educational and social role of Sappho's homophilia the fact that an adolescent's time in the poet's circle was a transitory step in a process. Though there is no 5HI IURP WKH DUWLFOH GH¿QLWH LQGLFDWLRQ DERXW WKH W\SH RI HGXFDWLRQ LQ 6DSSKR ¶V FLUFOH VFKRODUV KHU QDPH \HDU VXJJHVW that it consisted of preparation for marriage through a series of rites, dances, and songs, PDLQO\ GHGLFDWHG WR $SKURGLWH ,QGHSHQGHQWO\ RI any gender distinction, it is probable that some of these rites, as for the boys at Thebes and perhaps at Thera too, "consecrated the homoerotic bonds between lover and beloved by means of a sexual initiation appropriate for adolescents with the objective of teaching the girl the values RI DGXOW ³KHWHURVH [XDOLW\´ (Hallett, 1996: 130 all. Rather, she should be regarded primarily as a poet with an important social purpose and public IXQFWLRQ WKDW RI LQVWLOOLQJ VHQVXDO DZDUHQHVV and sexual self esteem and of facilitating role adjustment in young females coming of age in a sexually segregated society. Furthermore, Sappho's being an artist voicing sentiments which need not be her own shouldn't be neglected +DOOHWW .
7KH ³,´ RI 6DSSKR SLFWXUHV KHUVHOI DQG Aphrodite as parallel rather than reciprocal DJHQWV WKXV LQGLFDWHV 6DSSKR ¶V VHOI LGHQWL¿FDWLRQ with the goddess and all that goddess represents within her society, being both a dominant GHLW\ ¿JXUH DQG D GHYLDQW RQH D IHPDOH ZKRVH VXERUGLQDWH WR WKH PDOH JRG ¿JXUH RI =HXV 7KHUHIRUH IXUWKHU LPSOHPHQWLQJ /XNDFV QRWLRQ RI µUHÀHFWLRQ ¶ 6DSSKR DUJXHV RQ WKH QRUPDWLYH subject position she has been, possibly, restricted WR ZLWKLQ KHU VRFLHW\ HPSOR\LQJ D OLNH PHWDSKRU borrowed by that society's religion's discourse. Sappho is similar to Aphrodite because their positions are similar. Sappho too is a member RI WKH DULVWRFUDF\ UXOLQJ FODVV RI /HVERV DQG D subordinate to the male members of her class whose role was conveyed to political power. Given WKH WLWOH RI WKLV DUWLFOH $UFKDLF *UHHN VRFLHW\ LV in transition and the governing class doesn't coincide with the traditional thought ruling of the oligarchies. Tyrannies and the emergence of mercantile class question aristocracy's right to governing the city states. The accumulation of wealth from the merchants and artisans, as well as the tyrants' meritocracy; reminiscing of the VLQJOH UXOHU SDVW KDG VKDNHQ WKH GRPLQDWLRQ of the aristocrats, the best few. That transition EURXJKW DERXW FRQÀLFW ZLWKLQ WKH OLPLWV RI WKH city-state itself, devastating and at once enabling non normative subject positions to emerge. Sappho should have been one of few such voices.
Our growing awareness of the implications of oral composition and oral performance in early *UHHN SRHWU\ KDV RSHQHG QHZ SHUVSHFWLYHV RQ the archaic lyric. Sappho conveys a ritualizing, incantatory quality within her media. This incantatory quality has a special relevance for HDUO\ ORYH SRHWU\ 6XFK SRHWU\ VHHNV WR FUHDWH D verbal equivalent to the magnetic, quasi-magical compulsion which the ancient poets called thelxis ³HQFKDQWPHQW ´ or peitho ³SHUVXDVLRQ ´ , i.e. within the poem in its totality and ¿QLWXGH Thus, the ability of archaic lyric poetry to express the individual collectively explains how a poem by Sappho can express a personal experience true only for herself and one of her companions but can be accepted, recited, and even reperformed by all the gifts in her circle as both a lived and paradigmatic experience. Moreover, the language used by Sappho can communicate FROOHFWLYHO\ DQG FDQ HYRNH D FRPPRQ V\VWHP RI representations so that all the pupils of the group can have the impression of being participants in the propaedeutic and initiative homoerotic bonds actually experienced by only one of them &DODPH ³2GH WR $QDNWRULD´ IUDJPHQW LV DQ elucidatory example of the way in which Sappho assimilates conventional social and literary formulas to create her own poetic style, or as it is perceived by scholars, to a woman's consciousness. Through such conventions she SURGXFHV D VLJQL¿FDQWO\ GLcHUHQW YHUVLRQ RI GHVLUH RQH WKDW 6NLQQHU GHVFULEHV DV µFRQVSLFXRXVO\ nonphallic', or of experience, as we propose in this paper.  communion as the ultimate virtue of humanity, DQG WKLV LV KHU EHKHVW RQ ERWK SDFL¿VP DQG universality. To achieve the illustration of our point we will proceed to a textual analysis and will argue that Sappho's most essential contribution is in reciprocity and her willing herself a subject. The very existence of interplay between one level of style that is close to ritual and public discourse and another that is freer and PRUH SULYDWH LQWURGXFHV DQ HVVHQWLDO GLcHUHQFH between oral epic and oral lyric in the archaic age. She has merely shifted to another plane of discourse and another mode of communication. The total aesthetic experience produced results from a coming together of the two levels of FRPPXQLFDWLRQ WKH ULWXDO DQG WKH SULYDWH ,W LV just here, at these points of juncture between the social, outward-facing, public dimension and techniques of her art and their private, more personal, less ritualistic aspect, that Sappho HVSHFLDOO\ H[HPSOL¿HV KHU RULJLQDOLW\ DQG DUWLVWU\ The former is rooted in concrete, physical observation and "in the mutual participation between poet and hearer in the rapid, tense rhythmical and repetitive tempo; the latter deals in less tangible experiences and the more inward WHUPV RI ³VHHPLQJ ´ LPDJLQLQJ GUHDPLQJ´ 6HJDO The sense of illusion that she creates is one of WKH ¿UVW H[SUHVVLRQV RI ZKDW ZLOO ODWHU EHFRPH RQH RI WKH SULPDU\ FRQFHUQV RI SRHWU\ DQG SKLORVRSK\ WKH HcHFWV RI LPDJLQDWLRQ Le owitz, ,Q the illustrative metaphor employed, the meaning of the verb 'to see' is repositioned from 'something WKDW KDSSHQV ¶ WR DQ LQHcHFWXDO µVWDWH RI EHLQJ ¶ LQHcHFWXDO QRW EHFDXVH LW LV IUXLWOHVV RU DERUWLYH rather in realigning the gaze to the metaphysical ontology of non-presence. The absence of the other that transforms the gaze into projection also transforms the woman into a subject and possessor of the gaze.
7KH DGGUHVVHH RI WKH SRHP LV KHUVHOI VSHDNLQJ to herself. There isn't an active poetess who DQWLFLSDWHV WKH DFWXDO SUHVHQFH UHDO WDQJLEOH LPDJH RI KHU objet de desire DQG $QDNWRULD ¶V palpable presence is, then, better than witnessing the process of a super power's in battle. The meaning lies in its sublime connotation; the LQVLJQL¿FDQFH ZKLFK WUDQVFHQGV WKH SRHWHVV DQG ZKR LQGXFH KHU WR VWDWH WKDW $QDNWRULD ¶V ÀHHWLQJ Being-the poetess' mental still of her loved one, an imaginative imagery which is indeed very abstract, very broadly described is simply better WKDQ DQ\ KHURLF ZDUOLNH DFW Eva Stelhe, originating from Teresa de Lauretis' Lacanian approach, asserts that "the beauty of the absent woman and the woman's GHVLUH IRU WKH DGGUHVVHH VKDUH D FRPPRQ SRVLWLRQ the narrator's relationship to the absent woman LV FKDUDFWHUL]HG E\ ERWK JD]H DQG LGHQWL¿FDWLRQ´ DV WKH RQH RI WKH JLUO ZKR JD]HV DQG LGHQWL¿HV ZLWK KHU PRWKHU 6WHOKH FRQFOXGHV WKDW 6DSSKR uses the gaze not to objectify the one desired, but to dissolve hierarchy, the one established between mother and daughter according to Freudian analysis. Much debate has arisen about Freudians claim to a-historicity and universality of psychoanalytical categories, LQÀH[LEOH D GLVFRXUVH LQGHHG DQG GHYHORSLQJ from a patriarchal phallus. Hence, we'll attempt to re-articulate Stehle's argument about Sappho's intention to dissolve hierarchies and suggest intersubjectivity instead, furthering Benjamin's QRWLRQ RI WKH FRQFHSW 6DSSKR E\ SUHFLSLWDWLQJ interpellating herself and her loved one into VXEMHFWV VKH XQGHUWDNHV WKH WDVN WR GLVVROYH WKH object status altogether, i.e. there's no binary GLVWLQFWLRQV DQG FODVVL¿FDWLRQ LQ WKH UHFLSURFLW\ RI WKDW LQWHUVXEMHFWLYLW\ 6DSSKR LGHQWL¿HV ZLWK Helen, not exclusively as a desirable subject, but also to her feeling of no compunction.
:KDW LV DW ZRUN LQ 6WHOKH ¶V LGHD LV D QRWLRQ that an artifact is essentially related to, and thus outlines, the world of senses, an essentially 'sensual' world. Such a statement brings to mind the allegation on Baudrillard's interpretation of Guy Debord's Society of the Spectacle "seeing is D SK\VLRORJLFDO DQG LQWHOOHFWXDO DFWLYLW\´ ODFNLQJ WKH ³+HJHOLDQ QRWLRQ RI ZRUN DQG WUDQVIRUPDWLRQ WKURXJK SK\VLFDO ODERU´ DQG DV VXFK YLVLRQ VLJKW NHHSV EHLQJ GLVWDQW IURP WKH ZRUOG KHQFH the spectacle can't be altered or interacted with, WKHUHIRUH ³WKH VSHFWDFOH LV RSSRVLWH WR GLDORJXH´ 10 How can this be attested when there isn't a sensory perception, but an absence, involved as in the case RI 6DSSKR ¶V $QDNWRULD" 7KH ZRUOG VWD\V LQWDFW .H\ ,GHDV 6LPXODWLRQ DQG WKH +\SHUUHDO S The move from mythical to rational thought, from religion to philosophy, is caught here in a moment of transition. Sappho is "progressing toward analytical language, toward the notion of GH¿QLWLRQ RI ORJLFDO FODVVHV RI VXERUGLQDWLRQ DQG K\SRWDFWLF VWUXFWXUH´ ,Q QR SRLQW RI WKLV WH[W GRHV Sappho close her eyes to the ontological reality of the masculine order. She recognizes it, instead, as a controlling presence, but still avows the ethical superiority of her nonnormative subject position, her radically subject-centered approach WR H[LVWHQFH 7KXV WKLV SHUVSHFWLYH GH¿DQWO\ locates itself against hegemony's discourse. Sappho isn't referring to Aristotle's phronesis neither to Herodotus 'answer' to virtue by the standard of death; life's limit or end. She has also refused the Homeric notion of "means justify HQGV´ ZKHUH WKH ³2ῶÌ :¿/0ÈÒ×Ì ἐ12È ÃÏ×2ÎÈ1È ÊῷÎÌ´ GHULYHV IURP 6KH SURSRVHV D YLUWXH LQ communion to desire within an egalitarian FRQGLWLRQ ,Q WKLV YLUWXH GHVLUH ELQDU\ ¶V LQWHUSOD\ she saw a misconception, an essential altercation RI WKHLU LQÀH[LELOLW\ 6DSSKR ¶V VWDQGSRLQW LV KHU ZLOOLQJQHVV GHFLVLYHQHVV WR UHFLSURFLW\ 2U DW least this is the position in which we suggest to VHH KHU 7KLQN RI LW DV D OD\HU

CONCLUSION
The move from mythical to rational thought, from religion to philosophy, is caught here in a moment of transition. Sappho is "progressing toward analytical language, toward the notion of GH¿QLWLRQ RI ORJLFDO FODVVHV RI VXERUGLQDWLRQ DQG K\SRWDFWLF VWUXFWXUH´ ,Q QR SRLQW RI WKLV WH[W GRHV Sappho close her eyes to the ontological reality of the masculine order. She recognizes it, instead, as a controlling presence, but still avows the ethical superiority of her nonnormative subject position, her radically subject-centered approach WR H[LVWHQFH 7KXV WKLV SHUVSHFWLYH GH¿DQWO\ locates itself against hegemony's discourse. Sappho isn't referring to Aristotle's phronesis neither to Herodotus 'answer' to virtue by the standard of death; life's limit or end. She has also refused the Homeric notion of "means justify HQGV´ ZKHUH WKH ³2ῶÌ :¿/0ÈÒ×Ì ἐ12È ÃÏ×2ÎÈ1È ÊῷÎÌ´ GHULYHV IURP 6KH SURSRVHV D YLUWXH LQ communion to desire within an egalitarian FRQGLWLRQ ,Q WKLV YLUWXH GHVLUH ELQDU\ ¶V LQWHUSOD\ she saw a misconception, an essential altercation RI WKHLU LQÀH[LELOLW\ 6DSSKR ¶V VWDQGSRLQW LV KHU ZLOOLQJQHVV GHFLVLYHQHVV WR UHFLSURFLW\ 2U DW least this is the position in which we suggest VHHLQJ KHU 7KLQN RI LW DV D OD\HU