There has recently been a focus on the question of statue removalism. This concerns what to do with public history statues that honour or otherwise celebrate ethically bad historical figures. The specific wrongs of these statues have been understood in terms of derogatory speech, inapt honours, or supporting bad ideologies. In this paper I understand these bad public history statues as history, and identify a distinctive class of public history-specific wrongs. Specifically, public history plays an important identity-shaping (...) role, and bad public history can commit specifically ontic injustice. Understanding bad public history in terms of ontic injustice helps understand not just to address bad public history statues, but also understand the value of public history more broadly. (shrink)

Many of those memorialized around us in statues are wrongdoers, and so we are often called to consider whether we should take down those statues. Some of those statutes are memorialized for reasons now taken to be wrong; others are memorialized not for but rather despite their wrongdoing. How should we consider those latter cases? One tempting analysis suggests that we need only consider whether the wrongdoing was sufficiently transgressive. In this article, however, I reject that constrained focus. (...) Instead, these cases have as much to do with us, our priorities, and what those priorities should be as they have to do with the particulars of the lives of the subjects of the statues. Recognizing the central role that our priorities play in blame and condemnation better captures the contours of the debate about statue removal than any categorical rule about types of wrongs. (shrink)

Why do people in South Africa fight over statues – even to the extent of tying themselves to a mere bust? Using insights, especially from Jan Assmann, the study develops the argument that material culture (such as images and statues) provides the social energy that drives the manner in which history is told, that is, historiography; they provide the ‘silent objects’ with the power to control the public discourse and collective identity. Statues encapsulate all we need to (...) know, inversely, concerning public discourse, particularly, concerning issues pertaining to control, power and class. From this perspective, those who vandalise them may be regarded as contesting public discourse identity and historiography. Insights from this discussion provide parallel discussions, especially, in Galatians where Paul contrasts the image of Abraham with that of Moses – choosing Abraham as the public image that best represents the identity complexity, cosmopolitan and heterogeneous nature that characterises the Hellenistic context. (shrink)

We apply a familiar distinction from philosophy of language to a class of material artifacts that are sometimes said to “speak”: statues. By distinguishing how statues speak at the locutionary level versus at the illocutionary level, or what they say versus what they do, we obtain the resource for addressing two topics. First, we can explain what makes statues distinct from street art. Second, we can explain why it is mistaken to criticize—or to defend—the continuing presence of (...) statues based only on what they represent. Both explanations are driven by the same core idea: the significance of statues arises primarily from what they do, and not what they say. (shrink)

It is the purpose of this article to present the archaeological, epigraphic and literary evidence on the materials of honorific statues in Late Antiquity with a fresh outlook to delve into their cultural meaning and potential for manipulation and power display. The article questions how material choice and employment fits the conventions of state tradition and social customs, whether certain materials were deemed more prestigious and appropriate for the statues of the imperial family versus other honorands, and whether (...) this prestige depended on the cost of the material or other visual/cultural factors. The results of the inquiry show that the choice of materials depended on a mix of factors and diverse local practices, and of all the available materials, bronze remained as the most widely-manipulated one. (shrink)

This paper examines two popular arguments for the nonidentity of the statue and its constituent material. An essentialist response is provided to one of the arguments; that response is then shown to undermine the other argument as well. It is also shown that even if we accept these arguments and concede nonidentity, we can still avoid the further conclusion that constitution is not identity. These ideas are then extended to other applications of the arguments for nonidentity (specifically, their application to (...) a person and the constituent body, and to a mental event and its constituent neural event). (shrink)

Puzzles about persistence and change through time, i.e., about identity across time, have foundered on confusion about what it is for ‘two things’ to be have ‘the same thing’ at a time. This is most directly seen in the dispute over whether material objects can occupy exactly the same place at the same time. This paper defends the possibility of such coincidence against several arguments to the contrary. Distinguishing a temporally relative from an absolute sense of ‘the same’, we see (...) that the intuition, ‘this is only one thing’, and the dictum, ‘two things cannot occupy the same place at the same time’, are individuating things at a time rather than absolutely and are therefore compatible with coincidence. Several other objections philosophers have raised ride on this same ambiguity. Burke, originating what has become the most popular objection to coincidence, argues that if coincidence is possible there would be no explanation of how objects that are qualitatively the same at a time could belong to different sorts. But we can explain an object’s sort by appealing to its properties at other times. Burke’s argument to the contrary equivocates on different notions of ‘cross-time identity’ and ‘the statue’. From a largely negative series of arguments emerges a positive picture of what it means to say multiple things coincide and of why an object’s historical properties explain its sort rather than vice versa – in short, of how coincidence is possible. (shrink)

In what way might public statues wrong people? In recent years, philosophers have drawn on speech act theory to answer this question by arguing that statues constitute harmful or disrespectful forms of speech. My aim in this paper will be add a different theoretical perspective to this discussion. I will argue that while the speech act approach provides a useful starting point for thinking about what is wrong with public statues, we can get a fuller understanding of (...) these wrongs by drawing on resources from recent work in situated affectivity. I will argue that public statues can be understood as affective artifacts and that this can both help us understand both the deep affective wrongs caused by public statues and offer a possible explanation as to why some people are so strongly opposed to their removal. (shrink)

“African thinking,” “African thought,” and “African philosophy.” These phrases are often used indiscriminately to refer to intellectual activities in and/or about Africa. This large field, which sits at the crossroads between analytic philosophy, continental thought, political philosophy and even linguistics is apparently limitless in its ability to submit the object “Africa” to a multiplicity of disciplinary approaches. This absence of limits has far-reaching historical origins. Indeed it needs to be understood as a legacy of the period leading to African independence (...) and to the context in which African philosophy emerged not so much as a discipline as a point of departure to think colonial strictures and the constraints of colonial modes of thinking. That the first exponents of African philosophy were Westerners speaks volumes. Placide Tempels but also some of his predecessors such as Paul Radin and Vernon Brelsford were the first scholars to envisage this extension of philosophy into the realm of the African “primitive.” The material explored in this article – Statues Also Die, Bantu Philosophy, The Cultural Unity of Negro Africa, and It For Others - resonates with this initial gesture but also with the ambition on part of African philosophers such as VY Mudimbe to challenge the limits of a discipline shaped by late colonialism and then subsequently recaptured by ethnophilosophers. Statues Also Die is thus used here as a text to appraise the limitations of African philosophy at an early stage. The term “stage,” however, is purely arbitrary and the work of African philosophers has since the 1950s often been absorbed by an effort to retrieve African philosophizing practices before, or away from, the colonial matrix. This activity has gained momentum and has been characterized by an ambition to excavate and identify figures and traditions that had hitherto remained unacknowledged: from Ptah-hotep in ancient Egypt and North-African Church fathers such as Saint Augustine, Tertullian and Arnobius of Sicca, to “falsafa”-practising Islamic thinkers, from the Ethiopian tradition of Zera Yacob and Walda Heywat, to Anton-Wilhelm Arno, the Germany-trained but Ghana-born Enlightenment philosopher. (shrink)

ABSTRACT One simple but relatively neglected solution to the notorious coincidence puzzle of the statue and the piece of clay claims that the property of being a statue is a phase sortal property that the piece of clay instantiates temporarily. I defend this view against some standard objections, by reinforcing it with a novel counterpart-theoretic account of identity under a sortal. This proposal does not require colocation, four-dimensionalism, eliminativism, deflationism, or unorthodox theses about classical identity.

This book is a collection from the articles of 'The Skeptic' and brings together the best from the magazine's archive in one myth-busting volume. It includes mystery articles on the weeping statue at a Dublin suburban home, Turin Shroud, Britain's Roswell, Nostradamus's predictions and UFOs.

This article examines literary, epigraphic and archaeological evidence for the Christian reidentification of statuary and reliefs as biblical scenes and protagonists, saints and angels. It argues that Christian identifications were promulgated, amongst others by local bishops, to make sense of imagery of which the original identity had been lost and/or was no longer meaningful. Three conditions for a new identification are discussed: the absence of an epigraphic label, geographical and/or chronological distance separating the statue from its original context of display, (...) and the presence of a specific attribute or characteristic that could become the prompt for reidentification. In their manipulation and modernization of older statuary, Christians showed a much greater appreciation of the statuary medium than generally assumed. (shrink)

En 1981, dans un mur tardif situé au Nord-Ouest de l'Artémision de Thasos, a été découverte une statue féminine acéphale qui s'achève en pilier hermaïque. Une autre statue de ce même type, mais dans un état de moins bonne conservation, avait déjà été trouvée dans le voisinage. La statue de 1981 est une œuvre d'époque impériale librement inspirée des deux Herculanaises ; elle peut avoir représenté une prêtresse d'Artémis.

The focus of this article is on monuments variously referred to as statues, symbols, signages, busts, icons etc. The words are used interchangeably. Three words are highlighted to represent a common concept. These are statues, symbols and signages. The South African history with its painful experience of the indigenous inhabitants is highlighted and how symbols had to change in 1994 to represent the aspirations of the new democratic dispensation. Biblical reflections on monuments demonstrate the importance of these symbols (...) during the Old and the New Testament times. The two symbols singled out to reinforce this notion are the Holy Communion and the cross. The significance and potency of the monuments is explained and conclusion drawn is that symbols are valuable for didactive purpose because they serve as teaching aids. They also serve the memory for generations to come so that they know how God's faithfulness has been demonstrated in the national history of Israel, therefore serving missiological function of the church today. (shrink)

"En 1754, dans le Traité des sensations, Condillac s'efforce de démontrer que "toutes nos connaissances et toutes nos facultés viennent des sens, ou plutôt des sensations" Pour cela, Condillac développe une fiction, celle d'une statue dont il éveillerait progressivement les sens. Il demande au lecteur de se penser à la place de la statue, de s'imaginer n'avoir qu'un sens lorsque celle-ci n'en a qu'un seul d'éveillé, d'examiner successivement les cinq sens, isolément puis en les associant l'un à l'autre. L'attention, l'imagination, (...) la mémoire, l'entendement ne seraient pas les facultés d'un ego mais seraient distribués sur chaque sens. Au lieu de déterminer des facultés comme les pouvoirs d'un moi substantiel dans une métaphysique créationniste, Condillac construit le paradigme d'un moi pluriel, effet des opérations qu'il effectue. Le présent livre réévalue ainsi ce qu'une tradition philosophique, des idéologues aux positivistes, a décrit comme le sensualisme. Pour interroger cette interprétation, la fiction condillacienne de la statue peut être confrontée aux hypothèses qui lui sont contemporaines La Mettrie et son homme-machine. Diderot et l'idée d'anatomie métaphysique, Boureau-Deslandes et son Pygmalion, l'histoire naturelle de Charles Bonnet et l'homo duplex de Buffon, à des titres différents, retravaillent l'anthropologie. Cette pensée du sensible qui déplace l'homme dans la nature et dans l'histoire inquiète théologiens et moralistes et convoque les lecteurs d'aujourd'hui dans leur critique du subjectivisme."--Page 4 of cover. (shrink)

L’article exploite l’occasion rare d’étudier ensemble une statue et la construction où elle était présentée et mise en valeur. Les fragments de la statue comme de son baldaquin ont été trouvés ensemble lors de la fouille de 1931. Le baldaquin consiste en un petit édicule corinthien à deux colonnes, ouvert en façade et sur les côtés, accolé au mur Sud de la curie. La légèreté de sa construction comparée à la massivité de la statue exécutée d’un seul bloc, implique qu’il (...) a été construit autour de la statue, après sa mise en place et son achèvement. La statue assise de Fortuna se présentait de face, tournée vers l’espace qui tenait lieu de basilique civile au forum. L’emplacement où elle se trouve lui donne ainsi tout son sens. L’ensemble a été mis en place au moment des grands travaux de la deuxième phase architecturale du forum, dans le troisième quart du iie s. p.C., et détruit par le séisme qui a gravement affecté les bâtiments du forum vers le début du vie s. (shrink)

No statue raised in a public place should stand there indefinitely. Any such monument should have a set date when it is due to be replaced. I make three arguments to support this principle of non-permanence for public commemorative art. First, the opportunity cost of permanent statues is too high. States have a duty, grounded in their need for legitimacy, to support and cultivate democratic values. Public art is a powerful tool that is being drastically underemployed because existing (...) class='Hi'>statues are already taking up so many prominent sites. Second, permanence undermines stability by unnecessarily raising the stakes of change and so exacerbating predictable tensions between social groups who ought to be able to respect one another as honourable civic partners. My proposal reduces the significance of replacing a monument by making removals a commonplace event. Third, we ought to do away with permanent statues as a means of increasing democratic control for both current and future generations over public spaces. Each generation inherits a more cluttered civic landscape which makes it progressively more difficult to shape it in accordance with their needs, preferences, and cultural vocabulary. Taken together, these arguments tip the balance of reasons decisively against the status quo. (shrink)

In this paper, I consider the import of the metaphysics of statues to the decolonizing statues debate. On the one hand, this may seem an odd starting point: after all, the issues surrounding decolonizing statues are political, moral and, perhaps, aesthetic. I agree; however, presuppositions about the nature of statues may well be shaping the political imaginary about decolonizing statues. Indeed, when expressing political and moral claims such as ‘decolonizing statues erases history’, or that (...) ‘decolonizing statues destroys objects that help us to remember a (bygone) past’, I suggest that, from a metaphysical point of view, this relies on a notion of statues as singular objects. Drawing upon material constitution debates in metaphysics, I suggest that thinking about statues as multiple, co-locating objects, might deepen our theoretical understanding of decolonial activism because it allows us to think about the relationship of statues to history and culture in a much more critical way. As such, my analysis is intended to extend our metaphysical understanding of decolonial activism. Furthermore, it stands as a challenge to anyone who thinks that certain effects to history and culture follow, metaphysically speaking, from decolonial activism. (shrink)

Statues of gods in Greek culture had lives, both metaphorically and literally. The statues of gods had complex ritual lives. They had biographies (bioi); they travelled; they were subject to peripeties (destruction, repairs, re-dedication); and they suffered violence. Although they were not an indispensable element of worship, the images psychologically prepared the worshippers to address the divinity, and this was an important factor in the efforts of worshippers to communicate with the gods. Through the arousal of emotions they (...) provoked actions that were beyond or contrary to human intentions; in this sense, they had agency. Finally, under certain conditions they were perceived as fulfilling vital functions. Since Greek gods could not be in two places at the same time, they could not continually inhabit their statues. But they manifested their power through the statue during an epiphany. A statue was a receptacle (ankeion) of a god and medium of epiphany. (shrink)

The passage of human civilization into the new geological era of the Anthropocene raises the question of species extinction. How can we confront the possibility of collective death in a way that does not descend into uncontained anxiety or melancholy? Michel Serres’s works in the Foundations and Humanism series offer critical insights into the way in which human violence and death operate as mechanisms for binding together human collectives. Serres draws attention to the role of “social technologies” based around sacrificial (...) practices, the scapegoating mechanism, and the use of corpses as markers of social relations (or “statues”). He argues that these mythic logics and practices persist in modern societies and technoscience. They may also be at work in a modified way in the proposed technical solutions to climate change around space travel and planetary colonization. Drawing on the tradition of Folk Horror film-making and literature, it is argued that reversing the direction of travel, back into the Earth, provides better instruction about how to live and die in the Anthropocene. Reflection on the puteal sites where this may be accomplished will serve as the mechanism. (shrink)

What should we do with statues and place‐names memorializing people who committed human‐rights abuses linked to slavery and postslavery racism? In this article, I draw on UN principles of transitional justice to address this question. I propose that a successful approach should meet principles of transitional justice recognized by the United Nations, including affirming rights to justice, truth, reparations, and guarantees of nonrecurrence of human rights violations. I discuss four strategies for handling contested heritage, examining strengths and weaknesses of (...) each strategy. Examples from Bristol, England, highlight common challenges and positive lessons. (shrink)

Martin Flashar und Ralf von der Hoff, Die Statue des sog. Philosophen Delphi im Konlexl einer mehrfigurigen Stiftung p. 407-433 Zu den prominentesten Skulpturenfunden in Delphi zâhlt die Statue des sog. Philo sophen (Inv. 1819). Sie fand Aufnahme in die wichtigsten Handbûcher griechischer Plas- tik, obwohl weder Datierung noch Deutung oder gar ursprunglicher Aufstellungszusam- menhang geklàrt sind. Meist wird sie mit stilistischen Argumenten um 250 v. Chr. datiert, ausgelôst durch die hypothetische und falsche Zuweisung an das ebenfalls ungedeutete und undatierte (...) (hâufig aber um die Mitte des 3. Jhs. angesetzte) «Hufeisenmonument» westlich der Daochosgruppe durch L. Lerat. Wie die Neuuntersuchung zeigen kann, ist der « Philosoph » Bestandteil einer mehrfîguren Stiftung gewesen. Die Forschung hat gera- dezu «vergessen», daB er zusammen mit zwei weiteren Statuen, einer weiblichen bekleide- ten (Inv. 1817) und einer ebenfalls langgewandeten mânnlichen (Inv. 1820) gefunden wurde. Technische Indizien belegen den Werkstattzusammenhang, die drei Figuren waren auch zusammen aufgestellt. Sie rechneten zu einer u.U. noch grôBeren (môglicher- weise ist die nackte mànnliche Figur Inv. 1793 zugehôrig) um 300 v. Chr. oder in den ersten Jahrzehnten des 3. Jhs. im Nordsektor des Heiligtums geweihten Gruppe. Das Portràt, der Statuen- und Gewandtypus charakterisieren den « Philosophen » als bûrgerlichen alten Mann — fur die Deutung als wirklicher Philosoph gibt es kein stich- haltiges Argument. Die Frauenfigur lehnt sich ebenfalls an das Darstellungsrepertoire weiblicher Sterblicher (etwa auf attischen Grabreliefs) an. Die dritte Statue bezeugt einen seit dem Strengen Stil gelàufîgen Dionysos-Typus. Als Stifter kommt ein dionysischer Technit oder Chorege in Frage. Auf jeden Fall handelt es sich um ein Familienmonu- ment, das Portràts von mindestens zwei Verwandten prâsentierte und den Gott, dem es geweiht war, in das Ensemble miteinbezog. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Statue of Augustus from Prima Porta, the Underground Complex, and the Omen of the Gallina AlbaJane Clark ReederThe new excavations of the villa of Livia at Prima Porta have focused attention on the architecture and art of this imperial villa. The statue of Augustus from Prima Porta and the garden paintings from the underground complex have long been the most famous exemplars of their types. Recently new studies (...) have treated these works of art in relation to their setting. 1 But there is one source of information in particular which has not received the scrutiny in this regard that it might and that is the remarkable omen which gave the villa its name in antiquity, ad Gallinas. Although this omen is sometimes mentioned to explain the odd name, scholars have not examined in any detail the relationship of the omen to the art and architecture of the villa. In fact, the omen of the gallina alba is the foundation augurium of the villa-garden itself. 2In this essay I intend to examine the ancient literary sources concerning the villa; the only information given by the sources about the villa comes in fact by way of the omen. First the individual components of the omen and the surrounding body of augury and myth will be examined and illustrated where possible in the monuments. Secondly I hope to illuminate the symbolic interrelationships between this augural imagery and the iconography of three features of the art and architecture of the villa-garden: the statue of Augustus, the underground complex, and the laurel grove. This imagery and symbolism played an essential [End Page 89] role not only in the decoration of the villa, but formed an important part of Augustan ideology.The iconographical connections of the statue of Augustus and the underground complex of the villa-garden should be sought first of all in the ideology inherent in the statue itself. 3 Two attributes in particular give this message: the laurel branch in hand and the cuirass. Since one knows how important the laurel was as an age-old symbol of Apollo and as a new emblem of Augustus and since one is aware how pervasive the Apollonian propaganda became in Augustan ideology, 4 it is no wonder that H. Kähler (1959, 12–13; 28; pl. 32) found the laurel integral to the sacral character of the statue’s image and hence restored the laurel branch in the hand of Augustus on the statue from Prima Porta.Kähler is not the only scholar to attach the laurel to the Prima Porta statue of Augustus. 5 E. Simon restored a laurel branch in the left hand of Augustus rather than the right and in a recent summary of Augustan art this view was adopted. 6 There is also numismatic evidence for Augustus holding a laurel branch in connection with the triumph. While the certainty of a particular statue type behind the coin image is more problematic, 7 the coin in fact represents the historical event itself. On the reverse of a denarius from the great Actium series of coins Octavian is [End Page 90] represented as Triumphator and Imperator standing in the quadriga and holding a large laurel branch in his right hand. 8 On the obverse Victory, standing on the ship’s prow, holds a palm in her left hand and in her right the laurel crown which Octavian would have worn in the triumphal procession. Likewise Tiberius in the Augustan tradition stands in the triumphal quadriga and holds a laurel branch in his right hand on an aureus of a.d. 13/14. 9 At least one scholar (Neudecker 1988, 90) believes that the program of the statue of Augustus of Prima Porta is probably to be seen in connection with the triumphal ceremony.If Augustus indeed held a laurel branch in hand, the branch could only have come from the famous laurel grove of the villa of Livia ad Gallinas. The foundation augurium and legend of the Augustan laurel branch and indeed of the villa-garden itself as mentioned above is the omen of the gallina alba from which the villa took its name in antiquity... (shrink)

This paper argues that public statues of persons typically express a positive evaluative attitude towards the subject. It also argues that states have duties to repudiate their own historical wrongdoing, and to condemn other people’s serious wrongdoing. Both duties are incompatible with retaining public statues of people who perpetrated serious rights violations. Hence, a person’s being a serious rights violator is a sufficient condition for a state’s having a duty to remove a public statue of that person. I (...) argue that this applies no less in the case of the ‘morally ambiguous’ wrongdoer, who both accomplishes significant goods and perpetrates serious rights violations. The duty to remove a statue is a defeasible duty: like most duties, it can be defeated by lesser-evil considerations. If removing a statue would, for example, spark a violent riot that would risk unjust harm to lots of people, the duty to remove could be outweighed by the duty not to foreseeably cause unjust harm. This would provide a lesser-evil justification for keeping the statue. But it matters that the duty to remove is outweighed, rather than negated, by these consequences. Unlike when a duty is negated, one still owes something in cases of outweighing. And it especially matters that it is outweighed by the predicted consequences of wrongful behaviour by others. (shrink)

On the most popular account of material constitution, it is common for a material object to coincide precisely with one or more other material objects, ones that are composed of just the same matter but differ from it in sort. I argue that there is nothing that could ground the alleged difference in sort and that the account must be rejected.

Are a material object, such as a statue, and its constituting matter, the clay, parts of one another? One wouldn't have thought so, and yet a number of philosophers have argued that they are. I review the arguments for this surprising claim showing how they all fail. I then consider two arguments against the view concluding that there are both pre-theoretical and theoretical considerations for denying that the statue and the clay are mutual parts.

The Corinthian Speech (Corinthiaca) in the corpus of Dio Chrysostom (Or. 31) is attributed to Favorinus (c.80–160) based on internal criteria of content and style. This article argues that a reference to an author of a Corinthian speech found in a collection of sayings in codex Vaticanus Graecus 1144 is a unique external reference to Favorinus as author of this speech.

Recent criticisms of the Rhodes Must Fall (RMF) Oxford campaign have problematized the presence of Black bodies within British higher education by reference to an ideal image of the impartial and discerning academy. In this article, I historically and intellectually contextualize the apprehension, expressed in the debates over RMF Oxford, that an intimate Black presence destabilizes the ethos of higher education. Specifically, I argue that much more than Rhodes’ statue implicates the British academy in the Empire’s southern African interests. I (...) excavate a genealogy of academic debates regarding the effects of an increased proximity of Black presence to empire’s white spaces. These debates were initiated by social anthropologists in the interwar years primarily (albeit not solely) with regards to studies of southern Africa’s urbanizing spaces. What is more, such debates were highly influential to the study of ‘race relations’ in Britain’s postwar era of Commonwealth immigration. Critically, all these debates problematized the cognitive competency of African/Black peoples to inhabit white cultural spaces – including the academy – in ways that were not destabilizing of imperial order. Current campus campaigns such as RMF should not be evaluated against an ideal image of the academy. Rather, they form part of a continued confrontation with the afterlives of academic dispositions that were implicated in the imperial project that Rhodes was integral to. (shrink)

Obiettivo del presente contributo è un esame dei riferimenti al tema del silenzio in alcuni “luoghi” della letteratura socratica. Più particolarmente, l’analisi si concentra sull’importanza riconosciuta alla virtù del σιωπᾶν in due specifici ambiti: 1) l’educazione dei giovani e 2) lo scambio dialogico. Il primo aspetto è indagato soprattutto a partire dal Milziade di Eschine di Sfetto, che presenta positivamente la capacità di tacere nei giovani e che permette di istituire, a questo riguardo, alcuni paralleli con opere non socratiche. Il (...) secondo aspetto, non privo di connessioni con il primo, è invece approfondito soprattutto a partire da un riferimento al ruolo del silenzio nel Protagora platonico, che consente di indagarne la funzione più specificamente anti-sofistica. (shrink)