The aim of interpretation is to capture the past in the future: to capture, not to recapture, first, because the iterative prefix suggests that meaning, which was once manifest, must now be found again. But the postulated author dispenses with this assumption. Literary texts are produced by very complicated actions, while the significance of even our simplest acts is often far from clear. Parts of the meaning of a text may become clear only because of developments occurring long after its (...) composition. And though the fact that an author means something may be equivalent to the fact that a writer could have meant it, this is not to say that the writer did, on whatever level, actually mean it.Alexander Nehamas, professor of philosophy at the University of Pittsburgh, has written articles on ancient Greek philosophy, literary theory, Nietzsche and Thomas Mann. (shrink)

For much of its history, philosophy was not merely a theoretical discipline but a way of life, an "art of living." This practical aspect of philosophy has been much less dominant in modernity than it was in ancient Greece and Rome, when philosophers of all stripes kept returning to Socrates as a model for living. The idea of philosophy as an art of living has survived in the works of such major modern authors as Montaigne, Nietzsche, and Foucault. Each of (...) these writers has used philosophical discussion as a means of establishing what a person is and how a worthwhile life is to be lived. In this wide-ranging, brilliantly written account, Alexander Nehamas provides an incisive reevaluation of Socrates' place in the Western philosophical tradition and shows the importance of Socrates for Montaigne, Nietzsche, and Foucault. Why does each of these philosophers—each fundamentally concerned with his own originality—return to Socrates as a model? The answer lies in the irony that characterizes the Socrates we know from the Platonic dialogues. Socratic irony creates a mask that prevents a view of what lies behind. How Socrates led the life he did, what enabled or inspired him, is never made evident. No tenets are proposed. Socrates remains a silent and ambiguous character, forcing readers to come to their own conclusions about the art of life. This, Nehamas shows, is what allowed Montaigne, Nietzsche, and Foucault to return to Socrates as a model without thereby compelling them to imitate him. This highly readable, erudite study argues for the importance of the tradition within Western philosophy that is best described as "the art of living" and casts Montaigne, Nietzsche, and Foucault as the three major modern representatives of this tradition. Full of original ideas and challenging associations, this work will offer new ways of thinking about the philosophers Nehamas discusses and about the discipline of philosophy itself. (shrink)

Neither art nor philosophy was kind to beauty during the twentieth century. Much modern art disdains beauty, and many philosophers deeply suspect that beauty merely paints over or distracts us from horrors. Intellectuals consigned the passions of beauty to the margins, replacing them with the anemic and rarefied alternative, "aesthetic pleasure." In Only a Promise of Happiness, Alexander Nehamas reclaims beauty from its critics. He seeks to restore its place in art, to reestablish the connections among art, beauty, and (...) desire, and to show that the values of art, independently of their moral worth, are equally crucial to the rest of life.Nehamas makes his case with characteristic grace, sensitivity, and philosophical depth, supporting his arguments with searching studies of art and literature, high and low, from Thomas Mann's Death in Venice and Manet's Olympia to television. Throughout, the discussion of artworks is generously illustrated.Beauty, Nehamas concludes, may depend on appearance, but this does not make it superficial. The perception of beauty manifests a hope that life would be better if the object of beauty were part of it. This hope can shape and direct our lives for better or worse. We may discover misery in pursuit of beauty, or find that beauty offers no more than a tantalizing promise of happiness. But if beauty is always dangerous, it is also a pressing human concern that we must seek to understand, and not suppress. (shrink)

Dit essay van Alexander Nehamas is een waarschuwing aan hen, die de teloorgang van onze cultuur aantonen door de culturele uitingen die ons vandaag omringen te vergelijken met de meesterwerken uit het verleden. Dat is een scheve en oneerlijke vergelijking. Zo ontmoedigend is onze wereld niet, aldus de auteur. Jammerklachten over de teloorgang van de beschaving zijn al zo oud als de Griekse dichter Hesiodus en er is geen reden om aan te nemen dat de dingen in het algemeen (...) nog slechter worden dan ze al waren en nog altijd zijn. Op onderdelen gaat het met de hedendaagse cultuur zelfs helemaal niet zo slecht, aldus Nehamas. Hij vervolgt met een verdediging van de populaire cultuur en in het bijzonder de televisie, die door veel intellectuelen wordt veroordeeld zonder dat ze haar werkelijk kennen. Een scherp en gefundeerd oordeel blijft echter nodig bij onze inspanning om ‘de kunst te verfijnen en uit te dragen’; alleen kunst kan ons enige hoop en troost bieden tegenover de verschrikkingen van het verleden. (shrink)

Argues that Nietzsche tried to create a specific literary character in his writings and discusses the paradoxes of his work.

In September 2017 Alexander Nehamas kindly accepted our invitation to have a meeting in Athens in order to discuss several issues of philosophical interest; with his latest publication On Friendship as a starting point we soon moved over to a multitude of topics Nehamas has so far dealt with. The whole conversation spirals around the probably most challenging and demanding issue as far as practical philosophy is concerned – yet one every moral agent needs to provide an adequate (...) answer to during his lifetime: Values. Do they exclusively belong to the domain of morality? Nehamas claims that “although moral values […] are important […], they are not the only values that determine whether a life is or is not worthwhile”. This view inevitably shifts the focus from individual values - even fundamental ones such as friendship, art and truth- to the real issue: What is a good life, after all? (shrink)

In this reply, I defend my views on Nietzsche's “falsification thesis” and his perspectivism against Maudemarie Clark's recent criticisms, which appeared in The Journal of Nietzsche Studies 49.1. I begin by amplifying my interpretation of Gay Science 110 and 111, which, I argue, show that the falsification thesis is absent from The Gay Science. I then turn to perspectivism and argue that, contrary to Clark's claims, perspectivism never involves the falsification of the views to which it applies. It is therefore (...) unnecessary to apply perspectivism, as Clark does, only to value-imbued viewpoints and not to empirical knowledge or the natural sciences. Perspectivism, as Nietzsche, I believe, makes clear, applies to every aspect of human knowledge. (shrink)

Nietzsche sometimes writes as if we are not in control—at least not in conscious control—of our actions. He seems to suggest that what we actually do is independent of our intentions. It turns out, though, that his understanding of both intention and action differs radically from most contemporary treatments of the issue. In particular, he denies that our actions are caused by their intentions, whose role is hermeneutical in a sense that this essay develops. How then is responsibility to be (...) assigned, since its moral variety, at least, depends, on several views, on the intention with which an action is performed? Nietzsche, of course, is not interested in making attributions of moral responsibility. Still, his views on the relationship between an individual action, its intention, other actions by its agent, and the agent's character, as this essay presents them, provide a reasonable account of action generally and a different, broader account of responsibility for oneself. (shrink)

Problems with representing friendship in painting and the novel and its more successful displays in drama reflect the fact that friends seldom act as inspiringly as traditional images of the relationship suggest: friends' activities are often trivial, commonplace and boring, sometimes even criminal. Despite all that, the philosophical tradition has generally considered friendship a moral good. I argue that it is not a moral good, but a good nonetheless. It provides opportunities to try different ways of being, and is crucial (...) to the processes through which we establish our individuality. (shrink)

ONE of the central characteristics of Plato's later metaphysics is his view that Forms can participate in other Forms. At least part of what the Sophist demonstrates is that though not every Form participates in every other, every Form participates in some Forms, and that there are some Forms in which all Forms participate. This paper considers some of the reasons for this development, and some of the issues raised by it.

The Phaedo, despite the central role which the theory of Forms occupies there, gives us little explicit information. We meet with stock examples and with generalizations like "everything which belongs to being", "everything to which we give the mark of ‘that which is’ in our discussions", "all this sort of being". Socrates postulates the existence of the beautiful itself, the good itself, the large itself, and "all the rest", and he explains the beauty of beautiful things by appealing to their (...) participation in beauty, stressing that he means that for "everything". (shrink)

The eminent philosopher and classical scholar Alexander Nehamas presents here a collection of his most important essays on Plato and Socrates. The papers are unified in theme by the idea that Plato's central philosophical concern in metaphysics, ethics, and aesthetics was to distinguish the authentic from the fake, the original from its imitations. In approach, the collection displays Nehamas's characteristic combination of analytical rigor and sensitivity to the literary form and dramatic effect of Plato's work. Together, the papers (...) represent Nehamas's distinct and original contributions to scholarship on Plato and Socrates and serve as a comprehensive introduction to the thought of these two philosophers. In the book's opening section, Nehamas discusses Plato's representation of Socrates as a model of authentic human goodness, showing that Plato's Socrates is a more skeptical, troubling, and individualistic thinker than is usually supposed. The papers in the second section form a sustained defense of a new and important understanding of Plato's theory of the forms and the evolution of that theory in Plato's later writings. The third section examines Plato's contention that popular entertainment--by which he meant Greek epic and tragic poetry--misleads its audience into a debased life, an argument Nehamas relates to modern anxieties about television and other forms of popular culture. The collection also includes a discussion of Plato's use of the dialogue form in his representation of Socrates and carefully examines the combination of literary and philosophical elements in his work. Nehamas argues in the book that Plato's specific judgments of what is authentic are often flawed, but that his idea of authenticity as the mark of truth, beauty, and goodness is stronger than many modern scholars have assumed. In drawing together Nehamas's many influential ideas about Plato and Socrates, Virtues of Authenticity is a major contribution to the study of ancient Greek philosophy. (shrink)

Nietzsche's unpublished notes are extraordinary in both volume and interest, and indispensable to a full understanding of his lifelong engagement with the fundamental questions of philosophy. This volume includes an extensive selection of the notes he kept during the early years of his career. They address the philosophy of Schopenhauer, the nature of tragedy, the relationship of language to music, the importance of Classical Greek culture for modern life, and the value of the unfettered pursuit of truth and knowledge which (...) Nietzsche thought was a central feature of western culture since it was first introduced by Plato. They contain startling and original answers to the questions which were to occupy Nietzsche throughout his life and demonstrate the remarkable stability and consistency of his fundamental concerns. They are presented here in a new translation by Landislaus Löb, and an introduction by Alexander Nehamas sets them in their philosophical and historical contexts. (shrink)

It is said that when Socrates is made to ask questions like "What is the pious and what the impious?", "What is courage?", or "What is the beautiful?", he is asking for the definition of a universal. For the "average" Greek of his time, however, this is a radically new question about a radically new sort of object, and Socrates’ interlocutors do not understand it. They usually answer it as if it were a different, if related, question: they tend to (...) provide concrete instances of the universal in question rather than a definition, however inadequate, of the universal itself. Socrates always tries, but does not always succeed, to make himself clear: Meno, for example, is supposed never to get the point. (shrink)

Nietzsche often gives the impression that all human beliefs are false. Some scholars, like Maudemarie Clark, believe that such a “falsification thesis” is unacceptable and try to limit Nietzsche's commitment to it, claiming that he abandons it in his very last works. Others, like Lanier Anderson and Nadeem Hussain, take it in ways that make it true and locate it in all. I argue that the view that is common to both approaches—that Nietzsche held that thesis in the first place—is (...) unjustified. To that end, I interpret the texts where these scholars claim to find the thesis in a way that shows that they do not commit Nietzsche to it, and I offer some reasons for thinking that this is a more fruitful way of interpreting his views on the importance of truth—and falsehood—and their function in the economy of human life. (shrink)

The eminent philosopher and classical scholar Alexander Nehamas presents here a collection of his most important essays on Plato and Socrates. The papers are unified in theme by the idea that Plato's central philosophical concern in metaphysics, ethics, and aesthetics was to distinguish the authentic from the fake, the original from its imitations. In approach, the collection displays Nehamas's characteristic combination of analytical rigor and sensitivity to the literary form and dramatic effect of Plato's work. Together, the papers (...) represent Nehamas's distinct and original contributions to scholarship on Plato and Socrates and serve as a comprehensive introduction to the thought of these two philosophers.In the book's opening section, Nehamas discusses Plato's representation of Socrates as a model of authentic human goodness, showing that Plato's Socrates is a more skeptical, troubling, and individualistic thinker than is usually supposed. The papers in the second section form a sustained defense of a new and important understanding of Plato's theory of the forms and the evolution of that theory in Plato's later writings. The third section examines Plato's contention that popular entertainment--by which he meant Greek epic and tragic poetry--misleads its audience into a debased life, an argument Nehamas relates to modern anxieties about television and other forms of popular culture. The collection also includes a discussion of Plato's use of the dialogue form in his representation of Socrates and carefully examines the combination of literary and philosophical elements in his work.Nehamas argues in the book that Plato's specific judgments of what is authentic are often flawed, but that his idea of authenticity as the mark of truth, beauty, and goodness is stronger than many modern scholars have assumed. In drawing together Nehamas's many influential ideas about Plato and Socrates, Virtues of Authenticity is a major contribution to the study of ancient Greek philosophy. (shrink)

ABSTRACT In response to criticisms advanced by Christopher Janaway and Robert Pippin, I offer a rudimentary account of Nietzsche's “drives.” They are not mysterious: they stand for the different sets of motives, often in conflict, with which we are all faced. The strongest among them speak with the voice of the subject and try to get the rest to follow their lead. Such “subjugation,” whether within one or between different persons, often results not in the other's destruction but in its (...) improvement. Moreover, no drives are immune to change. Nietzsche likens their unification, which results in one's becoming an “individual,” to the unity of works of art. Aesthetic values being essentially social, unification depends not just on its agent but also on its reception by an audience. I end by arguing that “the eternal recurrence” forbids our imagining that our life could ever have been different in any significant respect. (shrink)

Nehamas geeft in zijn essay een kritische reactie op de religieuze wereldvisie, en houdt een pleidooi voor het heidendom. Het heidendom zou in tegenstelling tot het monotheïsme erkennen dat er veel manieren zijn waarop mensen hun leven kunnen bevestigen, en is volgens Nehamas een combinatie tussen tolerantie en kosmopolitisme.