“Witty and profound” musings on questions of art and religion from a celebrated novelist known for her philosophical explorations (Library Journal). For centuries, the works of Plato, featuring his mentor and teacher Socrates, have illuminated philosophical discussions. In Acastos: Two Platonic Dialogues, acclaimed philosopher, poet, and writer Iris Murdoch turns her keen eye to the value of art, knowledge, and faith, with two dramatic conversations featuring Plato and Socrates. “Art and Eros”: After witnessing a theatrical performance, Socrates and his (...) pupils—Callistos, Acastos, Mantias, Deximenes, and Plato—undertake a quest to uncover the meaning and worth of artistic endeavors. “Above the Gods”: The celebration of a religious festival leads to a lively discussion of the gods and their place in society, as Socrates, along with several of his followers, talk about the morality of religion, wisdom, and righteousness. Told through vivid characterizations and lively discourse, Acastos is at once a “profound and satisfying” exploration of the Socratic method and an enjoyable example of theatrical writing from a Man Booker Prize–winning novelist known for her studies with Ludwig Wittgenstein and her philosophy lectures at Oxford University, as well as for such works of fiction as The Sea, The Sea and The Black Prince (Kirkus Reviews). (shrink)

In this first comprehensive treatment of Plato’s political thought in a long time, John Wallach offers a "critical historicist" interpretation of Plato. Wallach shows how Plato’s theory, while a radical critique of the conventional ethical and political practice of his own era, can be seen as having the potential for contributing to democratic discourse about ethics and politics today. The author argues that Plato articulates and "solves" his Socratic Problem in his various dialogues in different but potentially complementary ways. (...) The book effectively extracts Plato from the straightjacket of Platonism and from the interpretive perspectives of the past fifty years—principally those of Karl Popper, Leo Strauss, Hannah Arendt, M. I. Finley, Jacques Derrida, and Gregory Vlastos. The author’s distinctive approach for understanding Plato—and, he argues, for the history of political theory in general—can inform contemporary theorizing about democracy, opening pathways for criticizing democracy on behalf of virtue, justice, and democracy itself. (shrink)

If for no other reason, this book is worth reading for the attention Professor Wallach affords the methods of interpretation. While the bulk of this lengthy study aims at a wide-ranging understanding of Plato’s political art “by focusing on the literary and philosophical connections between words and deeds in his ethical and political dialogues”, the structure of the argument and the structure of the book itself takes shape around the attempt to establish a new interpretive method. Wallach calls this interpretive (...) perspective “critical historicism”. The method is intended to rescue Plato from textualists and deconstructionists on the one hand, who “tend to liquefy the concreteness of the historical situation to which Plato’s dialogues responded” and the contextualists, on the other hand, who tend to dismiss Plato’s political art as merely an expression of “class interest, elitist bias, or linguistic convention”. As such, Wallach’s critical historicism attempts to cut across the dichotomy of textualism and contextualism; it “subordinates questions of authorial identity to questions about the discursive and practical problems that an author addresses, without ignoring authorial intention”. In short, the method aims to historicize, then to dehistoricize, and finally to rehistoricize so that Plato’s political art “can be used to invigorate contemporary political theory and benefit democracy”. (shrink)

The leading scholars represented in _Politics, Philosophy, Writing_ examine six key Platonic dialogues and the most important of the epistles, moving from Plato's most public or political writings to his most philosophical. The collection is intended to demonstrate the unity of Plato's concerns, the literary quality of his writing, and the integral relation of form and content in his work. Taken together, these essays show the consistency of Plato's understanding of the political art, the art of writing, and the (...) philosophical life. Studies emphasizing the unity of Plato's lifework have given way in recent scholarship to specialized and overspecialized examinations of individual dialogues. While each of the contributors to _Politics, Philosophy, Writing_ studies one text, his or her work is oriented toward illuminating the whole of Plato's project. Each of the essays is an innovative contribution to scholarship on its topic; as a collection, they constitute a unique reading of Plato's political philosophy. Plato scholars have generally divided themselves into two camps: those who concentrate on the analytic or logical aspects of the dialogues, and those who concentrate on the literary-critical features. In one camp are the philologists and classicists, and in the other, the writers of inventive interpretive commentaries. By avoiding distinctions between Plato the poet and Plato the philosopher, _Politics, Philosophy, Writing_ allows a deeper exploration of the comprehensiveness of Plato's theoretical vision and illuminates the lasting challenge of his understanding of the human condition. (shrink)

This is a collection of essays written by leading experts in honour of Christopher Rowe, and inspired by his groundbreaking work in the exegesis of Plato. The authors represent scholarly traditions which are sometimes very different in their approaches and interests, and so rarely brought into dialogue with each other. This volume, by contrast, aims to explore synergies between them. Key topics include: the literary unity of Plato's works; the presence and role of his contemporaries in his dialogues; the function (...) of myth (especially the Atlantis myth); Plato's Socratic heritage, especially as played out in his discussions of psychology; his views of truth and being. Prominent among the dialogues discussed are Euthydemus, Phaedo, Phaedrus, Republic, Theaetetus, Timaeus, Sophist and Laws. (shrink)

This paper discusses the politics of remembering and the representation of the Holocaust in Polish contemporary art referring to the Lego Concentration Camp by Zbigniew Libera. The paper presents the ways in which Libera’s work challenges the traditional ways of representing the Holocaust and how it engages with issues such as the relation between atrocity and aesthetics. The associations brought to this mode of representation by the notions of game and toys and whether theatricality and play are in dialogue (...) with or violate the historical experience of the Holocaust is also discussed. The paper investigates the specificity of the Polish context in the way the Holocaust is approached and the reactions these artistic attempts raise in the public. Do the unconventional and shocking representations help understand the Holocaust or do they create the opposite effect of misguided and trivialised reading of history? (shrink)

The main thesis of this essay is that the practice of Socratic political speaking and the practice of Platonic political writing are intimately interconnected but distinct. The essay focuses on the famous passage from the Gorgias in which Socrates claims to be one of the few Athenians who attempt the political art truly and goes on to articulate the nature of his political practice as a way of speaking toward the best (521d6-e2). It then traces the ways Socrates attempts (...) to use words to turn Gorgias, Polus and Callicles toward the best in the course of the dialogue. What emerges is a picture of a philosophical friendship between Gorgias and Socrates rooted in a common concern for justice. Yet, Socrates’ success with Gorgias is overshadowed by his failure to convince Polus or Callicles to allow a concern for truth, justice and the good to animate the course of their lives. Even so, the political practice of Platonic writing is shown in the essay to be designed to awaken in us, the readers, precisely such a concern to live a life in which words are spoken in ways that uncover the truth and are directed toward the best. (shrink)

Changes in the nature and conception of philosophy reflect changes in the modes in which philosophy was pursued during the first thousand years of the formation and influence of Aristotle’s philosophy. In the Hellenic period, philosophy consisted of inquiry and discussion, oral or written, in expositions or dialogues. Recording other positions, past or present, that is, history, was part of both modes of philosophizing. In the Hellenistic period, philosophy moved into schools and libraries and became scholastic and scholarly. The schools (...) interpreted doctrines and methods, and the libraries edited books and classified the branches of knowledge and letters. The history of philosophy became records of the opinions of philosophers and the successions of schools, or histories of sciences and arts. Aristotelianism was formed among the Hellenistic schools of philosophy, and members of the Peripatetic school wrote the first histories of science. Aristotle’s works were not needed in either enterprise. His books were preserved, lost, forgotten, and emended, and editors determined their authenticity, contents, structure, and order. In the period of the Roman Empire, philosophy was rejoined to rhetoric, dialectic, and sophistic. It was the period of the Second Sophistic, during which political and forensic rhetoric declined, the Platonic dialectic of dialogues and Ideas was transformed into the Neoplatonic dialectic of hierarchies and the One, and Sophistic assumed therapeutic functions in conjunction with medicine, and theatrical and mass-educational functions as epideictic rhetoric. The works of Aristotle were epitomized and interpreted, and Aristotelian words and ideas entered into the formation of a new organization of the liberal arts, a new transcendental theology, and new forms of literature and literary criticism. (shrink)

Plato’s statements on art have met with countless commentators and almost as many different interpretations. In most cases, comments and hints that are scattered through various dialogues are taken out of context and played off against each other – depending on whether the intention is to portray Plato as a modern art lover or as an ageing political reactionary. In the face of the confusing range of contending opinions, there is an urgent need to examine and clarify the textual basis (...) in Plato. For this purpose, a meticulous analysis of Book 10 of the Politeia is initially carried out – the only part of the corpus of Plato’s works that is concerned with art in detail and exclusively. The results are surprisingly clear. The corrupting and dangerous aspect of art is not attributed to individual artists or a specific artistic orientation, nor to the style of the depiction, nor to the content that is narrated or presented; instead, it is ascribed to its essential nature as the μίμησις of a μίμησις. Since even the objects of sense perception are imitations of the archetypal Ideas, which are ultimately accessible only to rational cognition, the artist is an imitator of something imitated. He merely touches on the appearance of a reality that is in turn already a defective, mutable and ephemeral imitation of the only true, immutable and eternal archetypal Ideas. As the imitation of an imitation, art is insurmountably distant from truth and knowledge, ontologically and therefore also epistemologically worthless and useless – and also damaging, because it attempts to shackle us and domesticate us at a level three steps below truth. However, it not only holds us captive, but also corrupts us even further by appealing not to reason, but to the lower part of the soul with its desires and affections. It is because of this that it is corrupting and dangerous, initially for the individual character and individual spiritual welfare, and ultimately – through the individual – also for human society as a whole. Art thus creates precisely the situation which for the philosopher represents the fundamentally distorted condition from which he is attempting to liberate people. Art is constantly re-fastening the shackles that the philosopher releases. This is why art has to be excluded from Plato’s ideal state, with philosophy alone taking its place. The condemnation of all forms of art could not be expressed more clearly. Despite this, repeated efforts have been made to weaken the condemnation or even disprove its existence, either in order to save art from Plato or, conversely, to save Plato from condemning art. To achieve this, alleged contradictions between Books 10 and 3 of the Politeia have been pointed out ; a differentiation or alteration in Plato’s understanding of the concept of μίμησις has been postulated; and reference has been made to passages in Plato’s works in which, it is claimed, the philosopher concedes that art has direct access to the world of the Ideas or in which he speaks of the artist’s divine inspiration , as well as the numerous passages that discuss Beauty . Finally, it is claimed that Plato did not condemn all art, but only a certain contemporary trend in art , or more generally, only illusionistic art in contrast to an abstract form of art – namely Egyptian art . In the second part of the study, these lines of argumentation are discussed individually and in detail and their content is tested. In each case, the findings obtained initially in the analysis of Book 10 of the Politeia are confirmed. The present study does not offer any new hypotheses; instead, its goal is to use a detailed and differentiated examination of the relevant texts to clearly distinguish Plato’s view of art from later neo-Platonic views, as well as from obfuscations created by modern interpreters, in order to obtain a secure basis for future investigations of Plato’s view of art in particular, as well as of ancient aesthetics in general. The extensive review of the secondary literature also documents part of the history of twentieth-century scholarship. (shrink)

Despite increasing interest in the figure of Socrates and in love in ancient Greece, no recent monograph studies these topics in all four of Plato's dialogues on love and friendship. This book provides important new insights into these subjects by examining Plato's characterization of Socrates in Symposium, Phaedrus, Lysis and the often neglected Alcibiades I. It focuses on the specific ways in which the philosopher searches for wisdom together with his young interlocutors, using an art that is 'erotic', not in (...) a narrowly sexual sense, but because it shares characteristics attributed to the daimon Eros in Symposium. In all four dialogues, Socrates' art enables him, like Eros, to search for the beauty and wisdom he recognizes that he lacks and to help others seek these same objects of erôs. Belfiore examines the dialogues as both philosophical and dramatic works, and considers many connections with Greek culture, including poetry and theater. (shrink)

Les Lois ne sont pas le dialogue de Platon le plus connu, ni a fortiori le plus commente. Strauss nous en donne ici un commentaire magistral: serre, il epouse toutes les sinuosites du texte et en revele toute la subtilite. Ce commentaire, publie apres la mort de l'auteur, mais entierement termine, est le fruit d'une vie entiere de meditation de l'oeuvre de Platon. A ce titre, il constitue un exemple privilegie de l' art de lire les textes de l'antiquite de (...) Leo Strauss. Le dialogue des Lois, en tant qu'il traite les questions de la loi politique et de la loi divine, a tres tot alimente les reflexions de Strauss sur le probleme theologico-politique qui est central dans ses recherches. (shrink)

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.

Not much is known about Prodicus of Ceos, though he is mentioned in more than a dozen Platonic dialogues and appears as a character in the Protagoras. In this article I examine the extant evidence about Prodicus from Plato and other ancient authors and show that Plato's attitude toward him was, surprisingly, one of great respect. In fact, Plato suggests that Prodicus was quite literally Socrates' teacher. I argue that by considering the evidence carefully we can determine with some (...) confidence what Socrates probably took from his instruction, namely, an art of making careful distinctions (diairesis), which had important political and philosophical applications. (shrink)

Toward the end of the astonishing period of Athenian creativity that furnished Western civilization with the greater part of its intellectual, artistic, and political wealth, Plato wrote The Republic, his discussion of the nature and meaning of justice and of the ideal state and its ruler. All subsequent European thinking about these subjects owes its character, directly or indirectly, to this most famous (and most accessible) of the Platonic dialogues. Although he describes a society that looks to some like (...) the ideal human community and to others like a totalitarian nightmare, in the course of his description Plato raises enduringly relevant questions about politics, art, education, and the general conduct of life. Translated by A. D. Lindsay From the Hardcover edition. (shrink)

Techne and praxis are the most useful and appropriate terms with which one can approach the larger question of theory and praxis in the Platonic dialogues, and it is this question which is the principal theme of this dissertation. Since the issue of theory, praxis, and, it must be added, production is made most explicit as a philosophical issue by Aristotle, Chapter II attempts to delineate exactly how he understands and divides these three terms. Particularly, how and why he (...) divides knowledge into three branches, the theoretical, practical, and productive, is discussed. ;Chapter III argues that the Aristotelian division of knowledge is prefigured partially in the Platonic dialogues. An extended series of "division passages" is studied to show that such a division is present in Plato but that a glaring difference obtains between him and Aristotle. For Plato the division is consistently twofold and is between theoretical and productive knowledge, or techne as he will usually call it. There is no mention in these passages of a correlate to Aristotle's practical knowledge, namely an "ethics" or a "politics." ;Chapter IV begins to ask why this is the case and what significance this fact has for Platonic thinking in general. It is argued that there is no possibility of a Platonic version of practical knowledge. There is no possibility, as there is for Aristotle, of a theory of praxis. This is essentially a result of the Platonic conception of both techne, the word in his vocabulary most significant of theory, and praxis. Given the conceptual structure of the former, it is impossible for the latter to become an object of a genuine techne. ;Chaper V discusses portions of the Republic. Here, more than anywhere else, Plato does seem to posit a theory of praxis. That such a theory is present is certainly the basis of many, if not most, of the readings of this dialogue. It cannot be denied that a theory of praxis is, in some sense, put forth in the Republic. It is argued here, however, that it is not present as an actual theoretical accomplishment or even as a projection of a future or possible accomplishment. For reasons discussed at length the thesis is maintained that even in the Republic praxis, despite appearances to the contrary, remains an illegitimate object of techne. ;Throughout Chapters IV and V the implications and significance of this thesis are discussed. There is both a negative and a positive pole to this discussion. As mentioned, it is argued that a theory of praxis is impossible for Plato. More positively, the manner in which praxis is prior to and conditions or "surrounds" techne is considered. Techne emerges and is never fully independent from praxis. (shrink)

This chapter contains sections titled: The Laws Conclusion Bibliography.

Plato inaugurated the Western tradition of political philosophy in his effort to vindicate the memory of Socrates and prevent future persecutions of philosophy. To attain this double objective, Plato embedded teachings and distributed themes with a view to appropriately revealing and withholding insights. The ultimate crucible for heuristically testing this Platonic method is Plato's distribution of themes of eros and force. Eros and force parallel the two cardinal features of the erotic Socrates who was suspected of guiding ambitious youths (...) to demagogic careers. Plato's metaphysics, dominated by his theory of Forms or Ideas, similarly originated in indignation at Socrates' legal murder and anguish about the future of philosophy. By positing fixed, eternal, and immutable standards, Plato seeks to preempt the litigious excesses, oratorical shenanigans and legalistic leeway that once made it possible to charge and convict Socrates. The reference of what is actual to a transcendent standard of truth served also to usher in the western tradition of textual embeddedness of meanings. This means that original political philosophy, understood as Platonic philosophy, is a relationship between form and content---between "how" something is articulated in writing and "what" is written. After the onslaught of the diagnostic critique of western thought, unleashed mainly by Nietzsche and Heidegger, the revival of esotericism in our century has been useful in unlocking Platonic interpretation and in showing Plato's text to be dependent on an inextricable interweaving between form and content. (shrink)

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.

Plato's famous dialogue, the Phaedrus, was variously subtitled in antiquity: "On Beauty", "On Love", "On the Psyche". It is also concerned with the art of rhetoric, of thought and communication. Pieper, noted for the grace and clarity of his style, gives an illuminating and stimulating interpretation of the dialogue. Leaving the more recondite scholarly preoccupations aside, he concentrates on the content, bringing the actual situation in the dialogue -- Athens and its intellectuals engaged in spirited debate -- alive. Equally alive (...) is the discussion of ideas, which are brought to bear on contemporary experience and made to prove the perennial validity of Socratic wisdom, and its power to excite the mind. The main thesis -- that in poetry and in love man is "beside himself", that is, divinely inspired -- is discussed with reference to modern poets, novelists, and modern psychology. (shrink)

This article reconstructs the forgotten friendship between Georges Bataille and the Russian émigré poet and philosopher Boris Poplavsky. Comparing their solar metaphysics, I focus on conceptions of friendship, sacrifice and depersonalisation. First, I retrace Bataille’s relationship to early Surrealis and Russian circles in interwar Paris, with a focus on his friendship with Irina Odoevtseva. I then offer a novel reading of Poplavsky’s poetry through the lens of Bataille’s philosophy, analysing a recurring motif that I call ‘dark solarity’. Uncovering a hidden (...) intertextual dialogue between Poplavsky and Bataille, I argue for Poplavsky’s lasting impact on Bataille’s anti-Icarian sun cult. Finally, my paper demonstrates how Poplavsky’s writings on solar sacrifice, excess and friendship left marks on Bataille’s vision of a solar community, embodied in the secret society Acéphale. The dialogue between Poplavsky and Bataille, I finally suggest, is a missing piece in the entangled history of Russian and French philosophy, as well as an original contribution to discourses on friendship in twentieth-century continental thought. (shrink)

We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

This essay articulates the differences and suggests the similarities between the practices of Socratic political speaking and those of Platonic political writing. The essay delineates Socratic speaking and Platonic writing as both erotically oriented toward ideals capable of transforming the lives of individuals and their relationships with one another. Besides it shows that in the Protagoras the practices of Socratic political speaking are concerned less with Protagoras than with the individual young man, Hippocrates. In the Phaedo, this ideal (...) of a Socrates is amplified in such a way that Platonic writing itself emerges as capable of doing with readers what Socratic speaking did with those he encountered. Socrates is the Platonic political ideal. The result is a picture of the transformative political power of Socratic speaking and Platonic writing both. El ensayo articula diferencias y sugiere similitudes entre las prácticas del diálogo político de Sócrates y aquellas de la escritura política de Platón. Propone, además, que tanto el diálogo socrático como la escritura platónica se orientan eróticamente hacia ideales capaces de transformar las vidas de los individuos y sus relaciones. Demuestra que en el Protágoras las prácticas del diálogo socrático se ocupan menos de Protágoras que del joven Hipócrates. En el Fedón, este ideal de Sócrates se amplía de tal manera que la misma escritura platónica aparece como capaz de hacer con los lectores lo que el diálogo de Sócrates hacía con sus interlocutores. Sócrates es el ideal político platónico. El resultado es una visión del poder de transformación política tanto del diálogo socrático como de la escritura platónica. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Art of Plato: Ten Essays in Platonic InterpretationDavid SiderR.B. Rutherford. The Art of Plato: Ten Essays in Platonic Interpretation. Cambridge: Harvard University Press; London: Duckworth, 1995. xv 1 335 pp. Cloth, $45.Richard Rutherford has given himself a difficult task: nothing less than a unified analysis of the form and content of several Platonic dialogues, without—as if this is not challenging enough—“losing sight either of (...) his historical context or [in a questionable disjunction] of the ethical, religious, and other themes which are central to his work” (viii). To those who think that the effort is not worth the candle because Plato’s worth as a philosopher is in no significant way enhanced by the literary trimmings, Rutherford wisely pays little attention, choosing rather to direct his book toward those among “academic and the general public” (viii) who (like this reviewer) are willing to believe that the message of a dialogue comprises more than the sum of its logical arguments.It will be seen that in my opinion Rutherford has largely succeeded, but in addition to the particular points raised below, two general criticisms can be made. The first is that by not demanding knowledge of Greek from his audience, Rutherford has cut himself off from what is often the most subtle, and hence the most telling, tool for analyzing the relation between form and content, namely the very language in which Plato has chosen to couch what may be at one and the same time both part of the argument and a more allusive framing element of his overall thesis. Well aware of this limitation, Rutherford does his best to mitigate [End Page 462] with occasional transliteration and explanation of the underlying Greek, but he clearly does not want to burden his Greekless reader with too much of this.A second general criticism is that Rutherford has not read (or reported on) too much of his fellow workers in the field of literary analysis of Plato. Nobody can be expected to have read everything written on Plato, but too many important articles have been omitted for Rutherford to claim that his book would not have been greatly improved had he spent more time on it (x). His wide reading of the philosophical side does not compensate for his not having worked his way through (at least) the Lustrum bibliographies of Cherniss and Brisson from 1950 to the near present.The ten chapters of this book (which cannot be treated in detail here) comprise two by way of introduction (“Problems and Approaches,” “Socratic Literature and the Socratic Question”) and, the heart of the book, eight which deal, in varying levels of detail, with twelve of the dialogues, five of them receiving a chapter each (Protagoras, Gorgias, Symposion, Republic, Phaidros). Much of the first two chapters contains matter not strictly relevant to the matter at hand, but even the section on Socratic literature other than Plato’s provides background with which to compare Plato’s treatment of the Socratic persona. They can confidently be recommended to students looking for an introduction to Plato’s writings fuller than that found in Guthrie but not as daunting as Friedlander’s first volume (which, however, is ultimately more satisfying). Especially praiseworthy are the sections devoted to the various historical problems and literary approaches to the dialogues. Further documentation, however, would alert the reader to alternate views. For example, Rutherford agrees with the majority of modern scholars (in opposition to all ancient views on the matter) that Plato did not write his dialogues before the death of Socrates; cf. L. Rossetti, “Logoi Socratikoi anteriori al 399 a.c.,” Logos e Logoi 9 (1991) 21–40, who reviews the evidence and concludes that, most likely, although Socrates’ dialogues were taken down for study (by others if not by Plato as well), it was not until the death of Socrates that people thought to publish them. One also misses any reference to the works of Paul Shorey in the section on the question of the unity versus the development of Plato’s thought (23–25).A more general criticism of the introduction is that several of the topics discussed are... (shrink)

The title theme is explored in seven chapters, five of which are revisions of previously published papers. As sketched in the introduction, the central claim is that the dialogues not only always present their explicit themes in a context of "finitude, limitation or negation", but also depict three different responses to such finitude, "domination, submission, or an acknowledgment of the finitude which transforms it into possibility", of which the latter is to be preferred. Moreover, subsequent chapters argue that this mode (...) of presentation is a form of irony which is not merely a literary device or a tactic of political prudence or of pedagogical method, but a reflection of a core tenet of Platonic philosophy, that is, that while the whole has an arche which is in principle intelligible, the finitude and erotic character of human nature render any complete or adequate grasp of that arche humanly impossible. Consequently, the philosophic enterprise, insofar as it is engaged in a necessarily unsuccessful striving for an unattainable goal, partakes of certain elements of tragedy, including the tragic sense that such striving is somehow ennobling. Yet insofar as it yields to the temptation to believe that its goal is attainable, it runs the risk of turning comic in its ignorance of its own limitations. Hence it seems to be self-knowledge about its own finitude which makes the philosophic life finally neither tragic nor comic. (shrink)

Plato’s distinction between appearance and reality which he attempts to demonstrate in his allegory of the cave established the conceptual framework for theories of knowledge for many centuries. The quest for certainty set us on the path to believing that reality is there to be discovered. We only have to open our eyes and minds. Yet a recurring question about the interface between culturally acquired concepts and objective sense perception remains a point of contention. Mischa Kuball’s Platon’s Mirror addresses this (...) question. Kuball’s Platon’s Mirror exhibited at Artspace Sydney during September 2011 is an intriguing exploration of the various layers involved in the process of meaning. Light is the metaphor. Light is filtered through a variety of devices to reveal disparate aspects of the one apparent object. The easy distinction between appearance and reality is deliberately thrown into disarray. Kuball provides a meditation on the blurring of reality and meaning which suggests a recurrent philosophical theme in Kuball’s oeuvre, the nature of meaning and value. (shrink)

From the acclaimed writer and thinker--whose award-winning books include both fiction and non-fiction--a dazzlingly original plunge into the drama of philosophy, revealing its hidden but essential role in today's debates on love, religion, politics, and science. Imagine that Plato came to life in the 21st century and set out on a multi-city speaking tour: How would he handle a host on Fox News who challenges him on religion and morality? How would he mediate a debate on the best way (...) to raise a child between a Freudian psychoanalyst and a Tiger Mom? How would he answer a neuroscientist who, about to scan Plato's brain, argues that all his philosophical problems can be solved by our new technologies? What would he make of Google, and the idea that knowledge can be crowdsourced rather than reasoned out by experts? With a philosopher's depth and a novelist's imagination, Rebecca Newberger Goldstein probes the deepest issues confronting us--from sexuality and child-rearing to morality and the meaning of life--by allowing us to eavesdrop on Plato as he encounters the modern world. By reviving the Platonic art of the dialogue for the 21st century, she demonstrates that the questions he first posed continue to confound and enlarge us. (shrink)

This book is not a study of Plato's philosophy, but a contribution to the literary interpretation of the dialogues, through analysis of their formal structure, ...

In the Statesman Plato resourced to the paradigm of the art of weaving to define the technique that the good governor must possess. However, with this analogy Plato equated political activity with the most characteristic of women’s activities in Ancient Greece. In such a way, Plato recognized that the philosopher-king, as he had put forward in the Republic , should give way to an expert that, like women weaving, knows the technique to weave the social fabric well. However, Plato did (...) nothing more than propose a model that had already been put in Lysistrata’s mouth by Aristophanes, when ironically postulating a government headed by women, who had no match in the art of weaving. (shrink)

This thesis analyses Deleuze & Guattari’s notion of becoming through certain performative encounters in contemporary political art, and re-conceptualizes them as “art(s) of becoming”. Art(s) of becoming are actualizations of a non-representational –minoritarian– mode of becoming and creation as well as the political actions of fleeing quanta. The theoretical aim of the study is, on the one hand, to explain how Platonic Idealism is overturned by Deleuze’s reading of Nietzsche and Leibniz, and on the other hand, how Cartesian dualism (...) of mind and body is surpassed by following a Spinozistic theory of affects. In this respect, the dissertation has both theoretical and practical dimensions. Since art(s) of becoming are bodies without organs which constitute their own lines of flight through a process of minoration, the concepts of body, affect, becoming, and intensity are central to this study. For the same reason, this is an attempt to show the intersections of philosophical, political and aesthetic domains in Deleuze’s theory of sensation which is part of his general practice of philosophy, that is, a quest for establishing an ontology of immanence as opposed to identitarian metaphysics. (shrink)

In the Gorgias, Socrates claims to practice the true art of politics, but the peculiar politics he practices involves cultivating in each individual he encounters an erotic desire to live a life animated by the ideals of justice, beauty and the good. Socratic and Platonic Political Philosophy demonstrates that what Socrates sought to do with those he encountered, Platonic writing attempts to do with readers. Christopher P. Long's attentive readings of the Protagoras, Gorgias, Phaedo, Apology, and (...) Phaedrus invite us to cultivate the habits of thinking and responding that mark the practices of both Socratic and Platonic politics. Platonic political writing is here experienced in a new way as the contours of a politics of reading emerges in which the community of readers is called to consider how a commitment to speaking the truth and acting toward justice can enrich our lives together. (shrink)

In this article I build on recent critiques of theological accounts of the eucharistic which overextend the practice's potential to form a Christian ethic and alternative polis. In analysing these critiques, often drawing on historical and contemporary cases of Christian malformation and its basis in liturgical practice, I suggest a greater distinction is needed between the practice's ability to raise political consciousness and the necessity of separate material political action. I approach this reconfiguration through appeal to debates on the political (...) efficacy and responsibility of art, focusing in particular on contemporary German theatre director, Thomas Ostermeier and his influential production of Henrik Ibsen's An Enemy of the People. Ostermeier distinguishes theatrical performance from material politics, while still demonstrating how theatre might enact a repoliticisation, provoking audiences to think beyond the story on stage to the world beyond where they live and try to act. Connecting the theological critiques with Ostermeier's work, I offer three areas in which a reconfiguration of the relationship between the Eucharist and Christian ethics might focus: depristinising in practice, disrupting catharsis, and being sent. These theatrical interventions allow for clearer recognition of the practice's ethical and political limits and potential. (shrink)

From the beginning, Augustine's "Confessions" presents itself as a dialogue with God. Taking a cue from Ludwig Feuerbach’s "The Essence of Christianity [Das Wesen des Christentums]," this dialogue can easily be dismissed as a projection of the self. This would imply that the divine otherness is nothing more than a mirror of one’s own fears and preferences. “Does this critique,” I asked myself in this piece, “really do justice to a position like that of Augustine?” For a long time, I (...) did not know how to approach what I had — provisionally — called Augustine’s dialogue with God. It appeared to me that Augustine, in an accidental and indirect way, had re-invented the Platonic dialogue and had turned it into a new Christian genre. “It is true,” I told myself, “that the genre of the Confessions shows family resemblances with the hagiography and the autobiography. But most certainly it cannot be reduced to these genres.” The Greek words ‘hagios’ (holy) and ‘autos’ (self) are in flagrant contradiction with the intention of the Confessions. Augustine tries to stay clear of any claim of holiness and only highlights his own ‘self’ to immediately question it. “Is the Platonic dialogue,” I asked myself, “not a far more appropriate predecessor for Augustine’s dialogue with God?” Both types of dialogues can be seen as true dia logoi in which at least two different voices emerge. However, contrary to what one would expect, it is not the dialogue form itself that frames these two voices. Instead the two voices emerge within the discourse of a single speaker, incorporating true otherness within the discourse of the self. Building on these reflections, I explore how Augustine's dialogue with God succeeds in eluding Feuerbach's charge of self-projection. (shrink)

Excerpt from Le Dieu de Platon: D'Apres l'Ordre Chronologique des Dialogues Le sujet que nous abordons est un des plus interessants que puisse se proposer un historien de la philosophie. Comment Platon a-t-il concu la divinite? Repondre a cette question ce serait mettre en lumiere la solution donnee par le plus grand peut-etre des philosophes a un probleme qui depasse sans doute en gravite et en profondeur tous ceux que l'homme a vu se poser devant son intelligence. Peu de recherches (...) pourraient etre plus captivantes et d'un plus haut interet pour quiconque aime a scruter et a comprendre la sagesse des temps passes. Aussi cette etude a-t-elle ete deja tres souvent entreprise, si souvent qu'on pourra nous trouver pretentieux de penser y apporter quelque chose de nouveau. Et pourtant la question n'a pas encore recu de reponse definitive; pour s'en convaincre, il suffirait de constater a quel point sont contradictoires, aujourd'hui comme autrefois, les resultats auxquels arrivent les interpretes de Platon. Il y a place pour une tentative de plus et, puisque le debat est reste ouvert, l'on ne saurait interdire a personne d'exposer son opinion motivee. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.". (shrink)

To assert that a 'clash of civilizations' follows inexorably from the different religious convictions at the foundations of Western Judeo-Christian and Arabic-Islamic cultures means to deny that a common political rationality can articulate genuinely universal, albeit culturally situated values. The eleven contributions to the present volume take up this controversy by challenging its premise that the heritage of classical Greek thought is exclusively part of Western political identity. By exploring the tradition of Platonism informing both Arabic-Islamic and Western political thought (...) and intellectual history in key stations in their history, the contributors show how Platonic political theory can still bear fruit in the present day, especially in the context of dialogue between cultures. (shrink)

José Ortega y Gasset not only expressed his views on subjects such as art or mass culture but he was also one of the promoters and founders of a United Europe which he considered a cultural unity. However, his view on the proper functioning of multicultural societies was as skeptical as his attitude towards the possibility of constructing an unified world that could be based on cultural coexistence of the Western World societies.

A transcript of Leo Strauss’s key seminars on Plato’s Protagoras. This book offers a transcript of Strauss’s seminar on Plato’s Protagoras taught at the University of Chicago in the spring quarter of 1965, edited and introduced by renowned scholar Robert C. Bartlett. These lectures have several important features. Unlike his published writings, they are less dense and more conversational. Additionally, while Strauss regarded himself as a Platonist and published some work on Plato, he published little on individual dialogues. In these (...) lectures Strauss treats many of the great Platonic and Straussian themes: the difference between the Socratic political science or art and the Sophistic political science or art of Protagoras; the character and teachability of virtue, its relation to knowledge, and the relations among the virtues, courage, justice, moderation, and wisdom; the good and the pleasant; frankness and concealment; the role of myth; and the relation between freedom of thought and freedom of speech. In these lectures, Strauss examines Protagoras and the sophists, providing a detailed discussion of Protagoras as it relates to Plato’s other dialogues and the work of modern thinkers. This book should be of special interest to students both of Plato and of Strauss. (shrink)

The aim of this article is to address the recently renewed debate pertaining to esotericism, secret messages encoded within writings from antiquity, especially in the writings of Plato. The question of esotericism has assumed a prominent role within debates concerning the history of political thought. Ever since Leo Strauss offered his suspicion that there were secrets ‘buried in the writings of the rhetoricians of antiquity’, the idea that philosophers deliberately concealed their true beliefs in a way that few could detect (...) has been fiercely debated. More recently, the research of J.B. Kennedy has made international headlines for discovering a musical pattern embedded within Platonic writings, a pattern that Kennedy insists is evidence of Plato’s Pythagorean allegiance. The theses proffered by Strauss and Kennedy are empty doctrines of esotericism, or empty esotericisms. These doctrines insinuate the presence of secret or coded writing within Platonic dialogues but reveal no actual secret. These theses of esotericism falsely represent Plato as hyper-cryptic.Without actually providing substantive content, these notions of esotericism compel the reader to merely negate the exoteric writings of Plato, which actually render his already heterodox writings as commonplace and orthodox. (shrink)

El primer capítulo del tratado Sobre lo bello inteligible (Enn. V, 8 <31>) proporciona un importante punto de partida para analizar las relaciones entre las estéticas plotiniana y platónica. Plotino plantea algunas objeciones contra el concepto tradicional de mimēsis que parecen contradecir las teorías de Platón en Resp. X. Tras una relectura de pasajes básicos de los diálogos platónicos (de República a Sofista), el ensayo regresa a las Enéadas y trata de entender las razones del «giro» plotiniano. Palabras clave: Creación; (...) Mímesis; Estética; Platón; PlotinoThe first chapter of the treatise On the intelligible Beautiful (Enn. V, 8 <31>) provides an important starting point to analyse the relations between the Plotinian and Platonic aesthetics. Against the traditional concept of mimēsis, Plotinus raises some objections that seem to contradict the theories of Plato in Resp. X. After a rereading of basic passages of the Platonic dialogues (from Republic to Sophist), the essay comes back to the Enneads and tries to understand the reasons of the Plotinian «turn». Keywords: Creation; Mimesis; Aesthetics; Plato; Plotinus. (shrink)

Opening an entirely new dimension of Platonic studies, this volume addresses major themes: the nature of law, property, and acquisitiveness; Socrates' famous "demonic voice"; the poetic claim to inspiration; and the psychology of the...

Philosophy After Lacan: Politics, Science and Art brings together reflections on contemporary philosophy inspired by and in dialogue with Lacanian theory. Rather than focus on the thinkers who came before Lacan, the editors maintain attention on innovations in contemporary philosophy that owe their emergence to complimentary, critical, direct, or tangential engagement with Lacan. This collection makes one of the first concerted efforts to expand discussions between psychoanalysis and more recent philosophical thinkers while gathering chapters by some of the leading (...) philosophical voices of the present moment. With contributors from around the world, this book has international appeal and is unique in its emphasis on contemporary philosophies inspired or influenced by Lacan. Philosophy After Lacan will not only appeal to psychotherapists and psychoanalysts, but also to students and professors of philosophy, critical theory, psychology, politics, history, and literature. (shrink)

What role did poetry, music, song, and dance play in the social and political life of the ancient Greek city? How did philosophy respond to, position itself against, and articulate its own ambitions in relation to the poetic tradition? How did ancient philosophers theorize and envision alternatives to fourth-century Athenian democracy? The City and the Stage poses such questions in a study of the Laws, Plato's last, longest, and unfinished philosophical dialogue. Reading the Laws in its literary, historical, and philosophical (...) contexts, this book offers a new interpretation of Plato's final dialogue with the Greek poetic tradition and an exploration of the dialectic between philosophy and mimetic art. Although Plato is often thought hostile to poetry and famously banishes mimetic art from the ideal city of the Republic, The City and the Stage shows that in his final work Plato made a striking about-face, proposing to rehabilitate Athenian performance culture and envisaging a city, Magnesia, in which poetry, music, song, and dance are instrumental in the cultivation of philosophical virtues. Plato's views of the performative properties of music, dance, and poetic language, and the psychological underpinnings of aesthetic experience receive systematic treatment in this book for the first time. The social role of literary criticism, the power of genres to influence a society and lead to specific kinds of constitutions, performance as a mechanism of gender construction, and the position of women in ancient Greek performance culture are central themes throughout this study. A wide-ranging examination of ancient Greek philosophy and fourth-century intellectual culture, The City and the Stage will be of significance to anyone interested in ancient Greek literature, performance, and Platonic philosophy in its historical contexts. (shrink)

With this nuanced and interdisciplinary work, political theorist Mihaela Mihai tackles several interrelated questions: How do societies remember histories of systemic violence? Who is excluded from such histories' cast of characters? And what are the political costs of selective remembering in the present? Building on insights from political theory, social epistemology, and feminist and critical race theory, Mihai argues that a double erasure often structures hegemonic narratives of complex violence: of widespread, heterogeneous complicity and of "impure" resistances, not easily subsumed (...) to exceptionalist heroic models. In dialogue with care ethicists and philosophers of art, she then suggests that such narrative reductionism can be disrupted aesthetically through practices of "mnemonic care," that is, through the hermeneutical labor that critical artists deliver—thematically and formally—within communities' space of meaning. Empirically, the book examines both consecrated and marginalized artists who tackled the memory of Vichy France, communist Romania, and apartheid South Africa. Despite their specificities, these contexts present us with an opportunity to analyze similar mnemonic dynamics and to recognize the political impact of dissenting artistic production. Crossing disciplinary boundaries, the book intervenes in debates over collective responsibility, historical injustice, and the aesthetics of violence within political theory, memory studies, social epistemology, and transitional justice. (shrink)

Ruling Passion is the only book-length study of tyranny, statesmanship, and civic virtue in three major Platonic dialogues, the Georgias, the Symposium, and the Republic. It is also the first extended interpretation of eros as the key to Plato's understanding of both the depths of human vice and the heights of human aspirations for virtue and happiness. Through his detailed commentary and eloquent insights on the three dialogues, Waller Newell demonstrates how, for Plato, tyranny is a misguided longing for (...) erotic satisfaction that can be corrected by the education of eros toward the proper objects of its pleasure: civic virtue and philosophy. (shrink)