Terence Parsons, Peter Woodruff; X*—Worldly Indeterminacy of Identity, Proceedings of the Aristotelian Society, Volume 95, Issue 1, 1 June 1995, Pages 171–192.

This short, elegiac volume makes an impassioned case for the fundamental importance of the forgotten virtue of reverence, and how awe for things greater than oneself can - indeed must - be a touchstone for other virtues like respect, humility, and charity. Ranging widely over diverse cultural terrain - from Philip Larkin to ancient Greek poetry, from modern politics to Chinese philosphy - Woodruff shows how absolutely essential reverence is to a well-functioning society.

This edition of early Greek writings on social and political issues includes works by more than thirty authors. There is a particular emphasis on the sophists, with the inclusion of all of their significant surviving texts, and the works of Alcidamas, Antisthenes and the 'Old Oligarch' are also represented. In addition there are excerpts from early poets such as Homer, Hesiod and Solon, the three great tragedians Aeschylus, Sophocles and Euripides, the historians Herodotus and Thucydides, medical writers and presocratic philosophers. (...) Besides political theory, areas represented include early anthropology, sociology, ethics and rhetoric, and the wide range of issues discussed includes human nature, the origin of human society, the origin of law, the nature of justice, the forms of good government, the distribution of wealth, and the distribution of power among genders and social classes. (shrink)

What is unique and essential about theatre? What separates it from other arts? Do we need 'theatre' in some fundamental way? The art of theatre, as Paul Woodruff says in this elegant and unique book, is as necessary-and as powerful-as language itself. Defining theatre broadly, including sporting events and social rituals, he treats traditional theatre as only one possibility in an art that-at its most powerful-can change lives and bring a divine presence to earth. The Necessity of Theater analyzes the (...) unique power of theatre by separating it into the twin arts of watching and being watched, practiced together in harmony by watchers and the watched. Whereas performers practice the art of being watched-making their actions worth watching, and paying attention to action, choice, plot, character, mimesis, and the sacredness of performance space-audiences practice the art of watching: paying close attention. A good audience is emotionally engaged as spectators; their engagement takes a form of empathy that can lead to a special kind of human wisdom. As Plato implied, theatre cannot teach us transcendent truths, but it can teach us about ourselves. Characteristically thoughtful, probing, and original, Paul Woodruff makes the case for theatre as a unique form of expression connected to our most human insticts. The Necessity of Theater should appeal to anyone seriously interested or involved in theatre or performance more broadly. (shrink)

How does one talk about moral thought and moral action as a religious naturalist? We explore this question by considering two human capacities: the capacity for mindfulness, and the capacity for virtue. We suggest that mindfulness is deeply enhanced by an understanding of the scientific worldview and that the four cardinal virtues—courage, fairmindedness, humaneness, and reverence—are rendered coherent by mindful reflection. We focus on the concept of mindful reverence and propose that the mindful reverence elicited by the evolutionary narrative is (...) at the heart of religious naturalism. Religious education, we suggest, entails the cultivation of mindful virtue, in ourselves and in our children. (shrink)

This volume brings together mostly previously unpublished studies by prominent historians, classicists, and philosophers on the roles and effects of religion in Socratic philosophy and on the trial of Socrates. Among the contributors are Thomas C. Brickhouse, Asli Gocer, Richard Kraut, Mark L. McPherran, Robert C. T. Parker, C. D. C. Reeve, Nicholas D. Smith, Gregory Vlastos, Stephen A. White, and Paul B. Woodruff.

Plato represents Socrates as believing in the unity of the virtues, quarreling with those who, like Protagoras or Meno, wish to treat the virtues as distinct objects of inquiry. On the other hand, there is good reason to deny that Plato's Socrates believed in the numerical identity of the virtues. What Socrates did believe, I shall argue, is that the various virtues are one in essence. I shall show what this means and how it clears up prima facie inconsistencies among (...) Plato's early dialogues.If I am right, Socrates’ theory has startling consequences. Since essence is exactly what Socrates wants a definition to state, it follows that all virtues will have one and the same definition. And if this is so, no wonder the quest for separate definitions of virtues fails in every case! For example in the Laches the generals are baffled by Courage because Courage has no private essence and cannot be marked off from the other virtues by stating its essence. Its essence is Virtue entire. That is a radical view, but there are good reasons for attributing it to Socrates. (shrink)

Journal Name: Apeiron Issue: Ahead of print.

Together these two dialogues contain Plato’s most important work on poetry and beauty.

Like Plato, Protagoras held that young children learn virtue from fine examples in poetry. Unlike Plato, Protagoras taught adults by correcting the diction of poets. In this paper I ask what his standard of correctness might be, and what benefit he intended his students to take from exercises in correction. If his standard of correctness is truth, then he may intend his students to learn by questioning the content of poems; that would be suggestive of Plato’s program in Republic III. (...) But his standard is more likely to be the accurate use of language; in that case he would intend his students to learn to express their thoughts clearly enough that their audience would understand what they were saying. That standard would be independent of the truth of what they are saying; and that would be a precursor to modern techniques by which we try to teach speaking and writing. Truth is not so easy to escape, however, and we shall see that Protagoras’ exercise must assume that the poet is trying to tell the truth. (shrink)

The joy he took in Plato’s early dialogues was contagious. Gregory Vlastos introduced me to philosophy when I was nineteen and his example inspired me to continue on the road to scholarship. He loved Socrates and was fascinated by this controversial dialogue, the Hippias Major, which became the subject of my fi rst book. For Vlastos, Plato’s Socrates was a fi gure of almost biblical importance, an example of a life well lived in search of wisdom. Although he was an (...) accomplished academic, Vlastos’ passions always went beyond the academic to fundamental questions of personal and political morality. Socrates’ questions mattered to him deeply, as they do to me. (shrink)

This article shows that important questions remain to be answered about the topics the sophists studied and taught, and their views, both positive and negative, about truth, religion, and convention. The sophists are united more by common methods and attitudes than by common interests. All sophists, for example, challenged traditional thinking, often in ways that went far beyond questioning the existence of the gods, or the truth of traditional myths, or customary moral rules, all of which had been questioned before. (...) Gorgias, for example argued that nothing exists; Protagoras found fault with Homer's Greek; and Antiphon presented arguments for the innocence of someone who seems obviously guilty. In challenging traditional views, the sophists liked to use deliberately provocative, sometimes paradoxical arguments that seem aimed at capturing the audience's attention rather than enlightening them. (shrink)

Americans have an unwavering faith in democracy and are ever eager to import it to nations around the world. But how democratic is our own "democracy"? If you can vote, if the majority rules, if you have elected representatives--does this automatically mean that you have a democracy? In this eye-opening look at an ideal that we all take for granted, classical scholar Paul Woodruff offers some surprising answers to these questions. Drawing on classical literature, philosophy, and history--with many intriguing passages (...) from Sophocles, Aesop, and Plato, among others--Woodruff immerses us in the world of ancient Athens to uncover how the democratic impulse first came to life. The heart of the book isolates seven conditions that are the sine qua non of democracy: freedom from tyranny (including the tyranny of majority rule), harmony (the blending of different views), the rule of law, natural equality, citizen wisdom, reasoning without knowledge, and general education. He concludes that a true democracy must be willing to invite everyone to join in government. It must respect the rule of law so strongly that even the government is not above the law. True democracy must be mature enough to accept changes that come from the people. And it must be willing to pay the price of education for thoughtful citizenship. Ancient Athens didn't always live up to these ideals. Nor does modern America. If we learn anything from the story of Athens, Woodruff concludes, it should be this--never lose sight of the ideals of democracy. This compact, eloquent book illuminates these ideals and lights the way as we struggle to keep democracy alive at home and around the world. (shrink)

In giving to charity, should we strive to do the greatest good or promote a lesser good? This is a unique collection of new papers on philanthropy from a range of philosophical perspectives, including intuitionism, virtue ethics, Kantian ethics, utilitarianism, theories of justice, and ideals of personal integrity.

We presume a background theory which allows for indeterminacy of states of affairs involving objects, extending even to indeterminacy of identity between objects. A sentence reporting such an indeterminate state of affairs lacks truth-value. We extend this to a theory of sets, similar to ZFU, in which membership in, and identity between, sets may also be indeterminate.

Consequence rleations over sets of "judgments" are defined by using "overdetermined" as well as "underdetermined" valuations. Some of these relations are shown to be categorical. And generalized soundness and completeness results are given for both multiple and single conclusion consequence relations.

Presentations of tragic theater in ancient Greece both represent and elicit the sharing of emotions. The theory behind this is cognitive: In order to share the emotions of another, you must understand the situation of the other. In keeping with the theory, tragic texts emphasize the importance of understanding.Ancient Greek poets did not conceive that one person could respond emotionally to another without understanding the situation of the other, ideally through having lived through a similar situation — if not, then (...) by imagining oneself in that situation. The word we translate as “compassion” is cognitive at root — “with-knowing,” sungnōmosune. Its cognate in modern Greek, sungnōme, still means “pardon me,” but.. (shrink)

In the Symposium of Plato, Socrates reports that Diotima once described to him a process of initiation by which a lover rises from desiring one beautiful body to catching sight of what seems to be the Platonic form of beauty. Scholars have debated whether the lover is to make this ascent by a rational process or a non-rational one, or by both working either in concert or independently. This paper argues that love leads and guides a process in this initiation (...) that necessarily involves rational activity. No teaching is necessary or appropriate, so that the process is an example of learning without being taught. The philosophical insight that results is life-changing, but it does not amount to the kind of knowledge that would fully satisfy a Socratic seeker after knowledge. (shrink)

The literature on conditionals is rife with alternate formulations of the abstract semantics of conditional logic. Each formulation has its own advantages in terms of applications and generalizations; nevertheless, they are for the most part equivalent, in the sense that they underwrite the same range of logical systems. The purpose of the present note is to bring under this umbrella the partition semantics introduced by Brian Skyrms in (Skyrms, 1984).

This chapter contains sections titled: What Is Tragedy? Mimesis6 Understanding Katharsis17 Five Questions for Interpreters A Short History of Katharsis Interpretation The Nature of Our Question Notes Bibliography.

A system of modal logic with the operator is proposed, and proved complete. In contrast with a previous one by Stalnaker and Thomason, this system does not require two categories of singular terms.

The Cambridge Companion to Socrates is a collection of essays providing a comprehensive guide to Socrates, the most famous Greek philosopher. Because Socrates himself wrote nothing, our evidence comes from the writings of his friends (above all Plato), his enemies, and later writers. Socrates is thus a literary figure as well as a historical person. Both aspects of Socrates' legacy are covered in this volume. Socrates' character is full of paradox, and so are his philosophical views. These paradoxes have led (...) to deep differences in scholar's interpretation of Socrates and his thought. Mirroring this wide range of thought about Socrates, this volume's contributors are unusually diverse in their background and perspective. The essays in this volume were authored by classical philologists, philosophers, and historians from Germany, Francophone Canada, Britain, and the United States, and they represent a range of interpretive and philosophical traditions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:.. MERELY A MAN OF LETTERS" an interview with Jorge Luis Borges* Philosophy and Literature: Why don't you tell us about some of the philosophers who have influenced your work and in whom you have been the most interested? Jorge Luis Borges: Well, I think that's an easy one. You might talk in terms of two: Berkeley and Schopenhauer. But I suppose Hume might be worked in also, because, (...) after all, Hume refutes Berkeley. Really, he comes from Berkeley—even if Berkeley comes from Locke. You might think of Locke, of Berkeley, and of Hume as being three links in an argument..... But I suppose that when someone refutes someone else in philosophy, he is carrying on the argument. P&L: And Schopenhauer? Borges: Schopenhauer is very different from Hume. Of course, Schopenhauer had his idea of the Will. That is not to be found in Hume.... The case of Berkeley was different. I suppose he thought of God as being aware of all things all the time, if I don't get him wrong. If we go away, does this room disappear? No, because God is thinking about it. Now, in the case of Schopenhauer, I was rereading Die Welt als Wille und Vorstellung, The World as Will and Idea, and I was rather taken aback, or baffled I should say, puzzled by something that keeps on recurring in Schopenhauer. Of course it may have been a slip of the pen, but as he goes back to it, and as he was a very careful writer, I wonder if it is a slip of the pen. For example, Schopenhauer begins by saying that the universe, the stars, the spaces in between, the planets, *On April 14, 1976, two editors of Philosophy and Literature, along with an interested colleague, interviewed Jorge Luis Borges at Michigan State University, where he held a position as visiting professor for the winter term. These remarks are edited from the transcript of that conversation. 337 338Philosophy and Literature this planet, those things, have no existence—except in the mind which perceives them. But then, to my surprise—and I suppose you can explain this to me, since you are philosophers and I am not—what Schopenhauer says is that all those things have no existence except in the brain. And that the universe—I remember these words, I don't think I'm inventing them now—"ist ein Gehirnphänomen," that the world is a cerebral phenomenon. Now, I was baffled. Because, of course, if you think of the universe, I suppose the brain is as much a part of the external world as the stars or the moon. The brain after all is a system of visual, of tactile, perceptions. He keeps on insisting on the brain. I don't think, for example, that Bishop Berkeley insists on the brain, or Hume, who would have insisted on the mind, consciousness. P&L: People sometimes say that they see Berkeley in stories like "Orbis Tertius." Borges: Yes, I suppose they do. Well, of course. But in that story I was led by literary means also. P&L: How do you distinguish the literary from the philosophical means in that story? Could you explain that? Borges: Very easily.... Encyclopedias have been my chief reading. I have always been interested in encyclopedias. I used to go to the Biblioteca National in Buenos Aires—and since I was so shy, I felt I could not cope with asking for a book, so I looked on the shelves for the Encyclopaedia Britannica. I would pick up any chance volume and I would read it. One night I was richly rewarded, because I read all about the Druses, Dryden and the Druids—a treasure trove, no?—all in the same volume, "Dr-." Then I came to the idea of how fine it would be to think of an encyclopedia... a very rigorous one of course, of an imaginary world, where everything should be linked. For example, you would have a language and then a literature, and then a history and so on. Then I thought I would write a story of a fancy encyclopedia. Of course that would require many different people to write it... (shrink)