If you enjoy video games as a pastime, you are certainly not alone―billions of people worldwide now play video games. However, you may still find yourself reluctant to tell others this fact about yourself. After all, we are routinely warned that video games have the potential to cause addiction and violence. And when we aren’t being warned of their outright harms, we are told we should be doing something better with our time, like going outside, socializing (...) with others, or reading a book. Playing video games is thus often seen at best as a waste of time, and at worst a source of violent tragedy. -/- Why It’s OK to Be a Gamer takes on the pervasive assumption that playing video games is a childish and time-wasting hobby, and a potentially addictive and dangerous one at that. It argues instead that there are many ways in which gaming can help us flourish, for example by: developing genuine friendships and other meaningful relationships with others, helping us cultivate a virtuous personal character, giving us a unique aesthetic experience, providing us with psychological benefits, and just plain helping us relax and enjoy ourselves. Video games are not just for those with no life; on the contrary, they can help contribute to a rich and meaningful life. (shrink)

This article explores the religious interpretation of play philosophy across different historical periods and contexts, from ancient Greek thought to contemporary digital media. Drawing on the works of prominent philosophers such as Heraclitus, Plato, Nietzsche, Heidegger, and Huizinga, as well as recent scholarship on digital media and religion, the article examines the role of play in shaping religious thought, practice and experience. It consists of three main sections, focusing on divine play in ancient Greek philosophy, (...) the religious connotations of the ‘playful order’ in the works of Nietzsche, Heidegger, and Huizinga, and the transformative potential of video games as a medium for religious expression and exploration. Contribution: By synthesising diverse perspectives and examining the religious implications of play philosophy in various contexts, this study offers new insights into the relationship between the divine and humanity, and the significance of play in religious life. It also highlights the potential of digital media to provide innovative avenues for religious exploration, fostering a deeper understanding of the role of play in both historical and contemporary religious contexts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:iPod, YouTube, Wii Play: Theological Engagements with Entertainment by D. Brent Laytham, and: If These Walls Could Talk: Community Muralism and the Beauty of Justice by Maureen H. O’ConnellJoel WardeniPod, YouTube, Wii Play: Theological Engagements with Entertainment By D. Brent Laytham EUGENE, OR: CASCADE, 2012. 209 PP. $24.00If These Walls Could Talk: Community Muralism and the Beauty of Justice By Maureen H. O’Connell COLLEGEVILLE, MN: LITURGICAL (...) PRESS, 2012. 319 PP. $39.95Although, in the Republic, Plato discussed the usefulness (and danger!) of having artists practicing within the civic community, from his time forward, social philosophers, moral theologians, and religious ethicists have tended to avoid [End Page 199] probing too much into the relationship between the aesthetic and the ethical. To be sure, as organized academic philosophy developed, especially after the Enlightenment, the separate intellectual bailiwick of aesthetics left ethical considerations of what is morally (as opposed to artistically) good to the domain of ethics. The result of such segmentation was to keep both interests’ discussions of “the good” significantly apart.The two books reviewed here represent new (and, hopefully, now less uncommon) attempts to find the correspondence between beauty and goodness. Because both authors think and write specifically from the perspective of Christian ethics, these attempts make use of the resources of the Hebrew and Christian scriptures, the sometimes contrasting traditions of Protestant and Catholic spiritual reflection, and the authors’ own personal engagement with sources of beauty or entertainment. Both authors argue in some way that the pursuit of the beautiful (or the enjoyable) bears a relation to goodness. They both also argue that our use of technology and our making of art ought to attend to the building of justice.In his book iPod, YouTube, Wii Play: Theological Engagements with Entertainment, D. Brent Laytham investigates varied forms of contemporary entertainment activities and technologies (e.g., the media-sharing website YouTube, video games, fashion magazines, sporting events) and unearths the ways in which these contemporary and technologically facilitated pastimes both support and endanger human social interaction. In particular, he pays close attention to how entertainment(s) help or hinder the drive of a community of believers into lives of discipleship.The thirteen chapters of the book are each organized around a particular technological theme and make good use of sociological reflection on media, as well as some Christian reflection on games, the communal pursuit of fun, and festivity. Laytham, a Methodist, takes a sympathetic stance toward modes of entertainment in how they function, at times, as legitimate means of communication between persons. But he also warns that they can, if used without an understanding of their effects on the inner lives of the persons involved, be damaging. The author often demonstrates remarkable psychological insight, such as when he discusses the pressures put upon teenagers’ sense of physical self-image when based on the values of fashion magazines (140), the spiritual dangers of any kind of escapism (118), and the complicated motivations underlying petty gambling (107). And though reflection questions that are scattered throughout the body of the text are sometimes distracting from the arguments he puts forward (and so maybe would be better placed at the end of each chapter), he clearly wants his critique of media and entertainment to lead to a fuller, better enjoyment of them, a proper enjoyment possible when they are understood in relation to what should be their ultimate purpose: the drawing together of communities of persons. [End Page 200]Moving from a consideration of entertainment to art, properly speaking, Maureen O’Connell’s If These Walls Could Talk: Community Muralism and the Beauty of Justice is a number of things. It is a narrative description of what has happened in one urban environment in the United States, where socioeconomic decline, street violence, and crushing poverty produce needful places for transformative grace; a theological-aesthetic analysis of a genre of fine art, peculiar for the materials used and the venues in which it is displayed; a moral-ethical project inspired by familial ties to a particular city, as well as the fruit of continued interest (and, one might even say, pastoral zeal) on the author’s... (shrink)

Is it ever morally wrong to enjoy fantasizing about immoral things? Many video games allow players to commit numerous violent and immoral acts. But, should players worry about the morality of their virtual actions? A common argument is that games offer merely the virtual representation of violence. No one is actually harmed by committing a violent act in a game. So, it cannot be morally wrong to perform such acts. While this is an intuitive argument, it does not resolve (...) the issue. -/- Focusing on why individual players are motivated to entertain immoral and violent fantasies, Video Games, Violence, and the Ethics of Fantasy advances debates about the ethical criticism of art, not only by shining light on the interesting and under-examined case of virtual fantasies, but also by its novel application of a virtue ethical account. Video games are works of fiction that enable players to entertain a fantasy. So, a full understanding of the ethical criticism of video games must focus attention on why individual players are motivated to entertain immoral and violent fantasies. -/- Video Games, Violence, and the Ethics of Fantasy engages with debates and critical discussions of games in both the popular media and recent work in philosophy, psychology, media studies, and game studies. (shrink)

This chapter will make ample use of Derrida's self‐analysis in “We Other Greeks,” especially as concerns the important role played by what might be called “the question of inclusion and exclusion” in Derrida's work on the Greeks. But it will then go on to make a claim that Derrida would have no doubt hesitated to grant, namely, that among all of Derrida's engagements with the Ancient Philosophy a single figure, Plato, and a single dialogue of Plato's, the Phaedrus, indeed (...) a single scene within that dialogue–Socrates’ critique of writing – played a central and unparalleled role in Derrida's work from the beginning right up until the end. The chapter shows this by looking not so much at the essay in which Derrida treats this scene in detail, his essay “Plato's Pharmacy,” but at Derrida's other works from around the same time and then at some of his very last publications. (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to (...) the United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

Ever since the 1960s, media and communication studies have abounded in heated debates concerning the psychological and social effects of fictional media violence. Massive empirical research has first tried to tie film violence to cultivating either fear or aggressive tendencies among its viewership, while later research has focused on other media as well (television, video games). The present paper does not aim to settle the factual question of whether or not medial experiences indeed engender real emotional dispositions. Instead, it (...) brings into play the resources of genetic phenomenology in order to ask how the formation of such dispositions would be generally possible. Thus, it aims to further the discussion by overtly employing the framework of Husserl’s later genetic phenomenology to the field of emotional experience. By posing questions with regard to how fictional emotional experiences contribute to the formation of apperceptions and to the specificities of emotional sedimentation, it also points out some shortcomings in Husserl’s account by drawing from Freud’s dynamic theory of drives and emotions. (shrink)

Unlike the bulk of electronic media the computer game or video game is a distinctly gendered medium. All investigations confirm that we are dealing with a medium which almost exclusively appeals to and is used by, boys and young men. Therefore, the video games and computer games are very suited for investigating the form of entertainment, the pleasure, that appeals to men, i.e. the specific ‘masculine pleasure’.The paper deals with questions such as: What do computer games mean? What (...) does violence in computer games signify? Why do computer games, especially the violent ones, mean something special to a certain group of men? These questions are discussed from the perspective of semiotics, media and control studies.Finally, the paper discusses the connections between women and the male dominated video games, and attempts to explain why, nevertheless, some girls and women do play these games. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Sacred Game: The Role of the Sacred in the Genesis of Modern Literary FictionAndrew J. McKennaThe Sacred Game: The Role of the Sacred in the Genesis of Modern Literary Fiction, by Cesareo Bandera; 318 pp. University Park: Pennsylvania State University Press, 1994, $16.50.When we consider the early relations of philosophy and literature, we most often think of Republic X and about degrees of separation between reality and (...) its image. That is a mistake, according to Cesareo Bandera, who shows in his deft reading of Laws that Plato expelled the poets chiefly because of their threat to the difference between sacred and profane: their mournful harmoniae polluted sacred rites. In this Plato is closer to the religious world examined by Durkheim, where the absolute difference between sacred and profane alone guarantees all other differences. Aristotle is shown to be starkly misleading here, since his Poetics discuss tragedy as if it had nothing to do with the ritual practices in which it originates. His vaunted realism can only save poetry—and ontological appearances—by ignoring, by virtually expelling the sacred from its purview.This expulsion of the sacred from the horizon of our rationality is the thematic core of Bandera’s argument about modern literary fiction as it [End Page 189] emerges in the Renaissance. He does not bring the religious back to our attention to enthrall us with it anew, but to explain via formidable literary and historical scholarship how we stand with respect to it, and how we misunderstand our enlightened disrespect for it. Our modern scientific spirit, our really amazing freedom of inquiry, has a different genealogy than we commonly suppose.It is not primarily philosophy which grounds our humanist irreverence, but our Western religious tradition, which Bandera reads, along with René Girard, Roberto Calasso, and Marcel Gauchet, as a uniquely desacralizing agency in culture. His book’s central endeavor is to expand the implications of Girard’s sacrificial theory of social formation across close readings of ancient and Renaissance literature and criticism in order to show the constraints on rationality within a culture where the sacred veiled human violence. According to this view, that veil is rent irreparably with the revelation of the innocent victim as the vantage point from which to interpret the murderous fury of the crowd, however ritualized as awe for the god(s), or as art. A stunning analysis of Virgil (with an assist from Michel Serres’s reading of Lucretius) reveals a writer holding back from his appalled understanding of violent foundations. With the Renaissance, art is cannily deritualized; not pious Aeneas, born of a goddess, but Don Quixote, born in prison, sets the course for modern fiction.Bandera’s astute readings of Renaissance literature and criticism shed decisively new light on the significance of this axial period, poised at the fulcrum of his argument. His vast and probing research reminds us how modern literary fiction nourished its self-consciousness and freedom amidst lavish and vehement debate over mixing the human and divine. Stripped of the taboos limiting classical thought, the sacred’s monopoly on violence had eroded to reveal individual culpability—but also vast, new possibilities for thought and action. A clear ethical impulse accompanies these readings, in which Calderon and Cervantes are shown to deprive us of a sacred alibi for human violence, which is now a matter for me to resolve with my neighbor. Organically cultural imperatives lose ground to a sense of individual responsibility, which Bandera traces back to the historically documented ascendancy of devotio moderna in late medieval Europe.Despite and because of debates over its cultural role, Renaissance literature’s very marginality freed it to explore every dimension of human error. And we learn how those who unwittingly conspire to resacralize it, from Tasso and Shelley through Arnold and Frye, only continue to play the sacred game that caused shudders in Plato and inspires just plain silliness among our own critical anarchs and demystifyers.Bandera’s net is cast wide and deep, including a bracing debate with Milbank and Blumenberg, whose sweep he emulates successfully, and whose powerful analyses he corrects. Witty and adroit scrutiny of our “sacred allergy” extends... (shrink)

Historically, video games featuring content perceived as excessively violent have drawn moral criticism from an indignant (and sometimes, morally outraged) public. Defenders of violent video games have insisted that such criticisms are unwarranted, as committing acts of virtual violence against computer-controlled characters – no matter how heinous or cruel those actions would be if performed in real life – harm no actual people. In this paper, I present and critically analyze key aspects of this debate. I argue that (...) while many ethical objections to playing violent video games seem to miss their marks, there is sufficient reason to take modest steps in order to address the concerns that theorists have raised. (shrink)

Commercial video games are popular entertainment media and part of students’ media reality. While commercial video games’ main purpose is not learning, they nonetheless could and should serve as objects of reflection in formal educational settings. Teachers could guide student learning and reflection as well as motivate students with commercial video games, but more evidence from formal educational settings is required. We conducted two mixed methods case studies to investigate students’ reflection processes using commercial video games (...) in regular formal high school teaching. In a double lesson, 29 students of a 10th-grade biology course and 17 students of a 12th-grade advanced course on history played and discussed a commercial video game related to the current curricular topic. We examined the reflection processes of students in terms of their reactions to the teachers’ game-related statements and questions. Regarding teachers’ statements, students discussed several topics related to game enjoyment and the games’ representation of topic-related content. Regarding teachers’ questions, students discussed multiple goals in each game, how the games represented topic-related content, and how the games could be appropriate for learning. In Study 2, students additionally discussed emotions, stereotypes, violence, and the narrative related to the digital history game. We found that the discussions provided students opportunities to reflect on their game experiences and the current curricular topic as well as to practice media criticism. We further provide quantitative results on students’ perceived topic knowledge, on several facets of their learning motivation, and on their acceptance of video games. Overall, our findings illustrate the educational value of using commercial video games as objects of reflection. (shrink)

Can video games teach students about the history and philosophy of science? This paper reports the results of a study investigating the effects of playing an educational video game on students’ knowledge of Galileo’s life and times, the nature of scientific evidence, and Aristotle’s and Galileo’s views of the cosmos. In the game, students were immersed in a computer simulation of 16th century Venice where they interacted with an avatar of Galileo and other characters. Over a period of (...) two weeks, 71 undergraduates were exposed to lectures about Galileo and the Copernican revolution in a traditional classroom setting. However, only half of the students also played the game. The other half were only exposed to lectures. The knowledge of both groups was assessed at the beginning and end of the two-week period. The results demonstrated objective improvements in knowledge for the experimental group while the control group showed virtually no change. Implications of these findings for teaching and learning the history and philosophy of science are discussed. (shrink)

The effect of violent video games is among the most widely discussed topics in media studies, and for good reason. These games are immensely popular, but many seem morally objectionable. Critics attack them for a number of reasons ranging from their capacity to teach players weapons skills to their ability to directly cause violent actions. This essay shows that many of these criticisms are misguided. Theoretical and empirical arguments against violent video games often suffer from a number of (...) significant shortcomings that make them ineffective. This essay argues that video games are defensible from the perspective of Kantian, Aristotelian, and utilitarian moral theories. (shrink)

This book argues that in order for people to live well, they must develop a virtue of playfulness. Inspired by Aristotle, the book draws on work from philosophy, classics, history, biology, psychology, and media studies to understand the place of play and playfulness in a good life. Many philosophers have written about play, from Presocratics such as Heraclitus to contemporary philosophers such as Bernard Suits. Some champion play as the most crucial value in life. Others deride it (...) and warn strongly against it. This book evaluates the research for how play and playfulness bear on living a good life and becoming a good person. Its main argument is that in order to understand play as an action we must understand playfulness as a virtue in the lives of good people. The author develops a theory of playfulness from an Aristotelian perspective. Like Aristotle sees the virtues as necessary for a happy life, the author argues that playfulness is necessary for living well. And just as Aristotle offers multifaceted characterizations of core virtues, the author argues that playfulness includes aspects of seriousness, creativity, humility, optimism, and sociality. Playful people take play seriously, learn new skills, overcome failure, strive for success, and keep others in mind. As a result, playful people have a better shot at living well. The Virtue of Playfulness is an accessible, empirically-informed, and detailed treatment of the philosophy of playfulness. It will appeal to scholars and students in philosophy and related disciplines who are interested in virtue ethics, moral psychology, philosophy of games, philosophy of sport, and ancient philosophy. (shrink)

Many parents worry over their children’s gaming habits, but to what extent do such worries match any detrimental effects of excessive gaming? We attempted to answer this question by comparing children of highly concerned parents with other adolescents of the same age. A cohort of parents who identified as highly concerned over their children’s video game habits were recruited for a public study in collaboration with a national television network. Using an online experimental platform in conjunction with surveys of (...) parents’ beliefs and attitudes, we compared their children to age-matched peers in an exploratory case-control study. The scores of children with highly concerned parents on tests of cognitive control and psychological wellbeing were statistically similar to controls, suggesting no selective cognitive or psychological detriments from gaming or otherwise in the cases with concerned parents. The case group, however, did spend more time gaming, and scored higher than controls on problem gaming indicators, which also correlated negatively with wellbeing. Within the case group, wellbeing effects seemed mainly to consist in issues of relaxation and sleep, and related to gaming addiction indicators of playing to forget real-world problems, and the feeling of neglecting non-gaming activities. Where most results of research staged for TV never get published, making it difficult to interpret both methods and results, this paper describes findings and participant recruitment in detail. The relationship between parental concern and children’s gaming is discussed, as is the merits and challenges of research conducted with media, such as TV programs and their recruited on-screen participants. (shrink)

The paper investigates the video game discourse of the Russian state media from 2011 to 2015. Critical discourse analysis serves as a methodological framework for this work, and Foucault’s power/knowledge model is used to explain the logic behind the «grotesque discourses». In the Russian press, video games are described as an instance of inculcation, provoking overintense emotions and forcing individuals to commit symbolic acts impossible from the standpoint of “normal” pedagogy. The paper problematizes the mythologization of violence in (...) video games and identifies the main tropes used to establish the connection between video games and violence (murders) as “natural” and “obvious”. Particular attention is paid to the publications of Aleksandr Minkin, a reporter at “Moskovskij Komsomolets” (“Moscow Komsomol Member”) and one of the most prominent critics of video games, as well as to the media coverage of the first school shooting in Russia (shooting at school № 263 in 2014). It is shown that video games are used in the media discourse as an explanatory principle that allows a shift from the crime to the criminal, to those acts which reveal moral depravity or psychological disorder, and those circumstances which foster criminalism. Pointing to the games helps restore the “normal” connection between social and moral qualities, explaining the crime committed by an honours student from a “good family” as being the result of the depictions of violence in video games affecting the child’s psyche. Video games are also described as a factor in shaping the “digital generation” or “generation of gamers” — odd and politically dangerous. The dangers that games create for both gamers and society in general (the non-distinction between the “real” and the “virtual”, the illusion of a “possible restart”) allow the journalists and experts to insist on strengthening measures of supervision and protection, and expanding legal and medical control. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 382-401 [Access article in PDF] Symposium:the Ancients Now Bo Earle Plato, Aristotle, and the Imitation of Reason THE DEBATE BETWEEN the philosophers and the poets was already "ancient" when Plato made his contribution. 1 Yet, as an ostensibly analytical "debate," there is a sense in which this dispute was always rigged in the philosophers' favor. This is due to the fact that an (...) integral part of philosophy consists in accounting for philosophy's place among the other disciplines and practices, whereas such accounting is not necessarily a part of poetry. Consequently, framing the debate in these terms obscures what is really at stake in it. For, what has made poetry such a longstanding source of irritation for philosophers is not that it pretends to offer an alternative account of the order of the disciplines and practices, but precisely that it does not pretend to offer such an account, does not engage that pursuit. The most obvious way to juxtapose Plato and Aristotle with respect to this difference is to say that Plato saw it as a difference of incompatibility, Aristotle as one of complementarity. But this is again already to approach the issue on the philosopher's terms. On the other hand, saying that poetry simply defies philosophical containment can all too easily lead to a romantic valorization of incommensurability that merely inverts Plato's repudiation. The following attempts to show that the tension between philosophy and poetry is registered by Plato's and Aristotle's philosophies of [End Page 382] poetry in a way that doctrines of complementarity and incommensurability cannot explain, and that thus illustrates both the ethical stakes of philosophical praxis, and the philosophical value of poetic elucidation of such praxis.Plato's philosophical objection to poetic imitation is two-fold, based in metaphysics and epistemology, on the one hand, and in ethics, on the other. The metaphysical-epistemological objection is that poetry has no stake in truth and thus cannot contribute to knowledge. There is no way of distinguishing valid from invalid interpretations of poems, Socrates complains in Protagoras, because the poets do not submit to dialectical interrogation about their work: "we cannot ask them questions about what they say." 2 If they cannot account for what they do, Socrates concludes that the work of the poets should be counted among the phenomena of nature and the acts of gods: "poets do not compose their poems with knowledge, but by some inborn talent and by inspiration, like seers and prophets." 3 Socrates criticizes poetry for seeming to penetrate the world's mysteries when it in fact propagates them.Yet Socrates' claim is not that poetry makes us take something to be true that actually is false. Rather, his point is that poetry simply has no stake in the truth to begin with. The problem with debates about poetry, Socrates continues in Protagoras, is that the disputants "wind up arguing about something they can never finally decide" (347e); consequently Socrates proposes that we "should put the poets aside and converse directly with each other, testing the truth and our own ideas" (Pr, 348a). The subject matter presented to us by poetry is directly contrasted with that which admits of dialectical truth-testing. That is, poetry does not "lie," it does not disguise falsehoods as truths; rather, it turns its back on the pursuit of truth altogether. It is something with respect to which truth oriented arguments "can never finally be decided" because it is something to which the category of truth does not apply. Indeed, our interest in poetic imitation derives precisely from the fact that such imitation does not pretend to be what it imitates, that it is liberated, in a sense, from the question of 'the truth' of the things, people and events it imitates belong. Since the poet offers "no worthwhile knowledge of the things he imitates," Socrates concludes that poetic "imitation is a kind of game and not something to be taken seriously" (R, 602b). Such imitation is disengaged from the realm of knowledge and truth-testing entirely, constituting an... (shrink)

Nowadays, many parents want to limit their children's exposure to violence, believing it is harmful to them. The Greek philosopher Plato would have agreed that violent media should not be completely avoided. In the Republic, he depicts Socrates as arguing that men and women should take children to war so that they can observe and act as their apprentices. Aliens validates Socrates in its depiction of Newt, a perfect example of how violence can shape a child into a strong and (...) rational person. Newt resembles an apprentice guardian and Ripley is like her auxiliary supervisor during the battle with the Xenomorphs. The key to preventing children from imitating a violent behavior is to teach them about the meaning of the messages put out by the media: that is, parents should define the difference between violence in reality and violence in video games or films. (shrink)

This book introduces the critical concepts and debates that are shaping the emerging field of game studies. Exploring games in the context of cultural studies and media studies, it analyses computer games as the most popular contemporary form of new media production and consumption. The book: Argues for the centrality of play in redefining reading, consuming and creating culture Offers detailed research into the political economy of games to generate a model of new media production Examines the dynamics of (...) power in relation to both the production and consumption of computer games This is key reading for students, academics and industry practitioners in the fields of cultural studies, new media, media studies and game studies, as well as human-computer interaction and cyberculture. (shrink)

The study of the effects of interactive media has mainly focused on dysregulated behaviors, the conceptualization of which is supported by the paradigms of addiction. Research into Game Transfer Phenomena examines the interplay between video game features, events while playing, and the manipulation of hardware, which can lead to sensory-perceptual and cognitive intrusions and self-agency transient changes related to video games. GTP can influence the interpretation of stimuli and everyday interactions and, in contrast to gaming disorder, are relatively (...) common and not necessarily negative. However, some players have reported feeling distress due to their GTP. This study focuses on how dispositional and interactive media habit factors are related to GTP and two forms of problematic interactive media [problematic video game playing and problematic social media use ]. A sample of 343 university students who played video games completed an online survey. Not all who had experienced GTP were identified as exhibiting PVG or PSMU, but all of those in the PVG group had experienced GTP. Overall, the profiles of the groups, including GTP, PVG, and PSMU, were in accordance with previous findings. Those in the GTP and the PVG groups were characterized by being male, being highly engaged in the game, and showed preferences for game-related activities. However, while those in the GTP group were significantly more likely to be fantasy-prone, those with PVG were the ones who played most per day. Those in the PSMU group were characterized by being female and/or extroverted, frequently using social/sharing platforms, and seldom playing video games. A hierarchical binary logistic regression revealed that males were more likely to experience GTP. Increases in PVG, fantasy proneness, and neuroticism increased the odds of GTP. Future work can benefit from considering the role of GTP in gaming disorder, since intrusive thoughts, cognitive biases, and poor impulse control are pivotal in the initiation and maintenance of dysfunctional playing behaviors. (shrink)

Considered a sign of the ‘coming of age’ of video games as an artistic medium, the award-winning BioShock franchise covers vast philosophical ground. _BioShock and Philosophy: Irrational Game, Rational Book _presents expert reflections by philosophers on this critically acclaimed and immersive fan-favorite. Reveals the philosophical questions raised through the artistic complexity, compelling characters and absorbing plots of this ground-breaking first-person shooter Explores what _BioShock_ teaches the gamer about gaming, and the aesthetics of video game storytelling Addresses a wide (...) array of topics including Marxism, propaganda, human enhancement technologies, political decision-making, free will, morality, feminism, transworld individuality, and vending machines in the dystopian society of Rapture Considers visionary game developer Ken Levine’s depiction of Ayn Rand’s philosophy, as well as the theories of Aristotle, de Beauvoir, Dewey, Leibniz, Marx, Plato, and others from the Hall of Philosophical Heroes. (shrink)

Plato and Aristotle each present traditional forms of religious practice (e.g., sacrifice, choral performance, prayer, and temple cult) as activities that are worth performing. Because these philosophers advocated such unconventional theological views, their endorsement of conventional religious practice strikes some readers as surprising. This dissertation examines why Plato and Aristotle defended traditional religious practice. Specifically, it investigates their views on its efficacy (i.e., what benefits religious practice produces and how it is thought to produce them). Chapters 1-2 provide the intellectual (...) background necessary to appreciate Plato and Aristotle’s individual contributions. Chapter 1 outlines a view of efficacy that was common in the archaic period (the “Traditional View”). It shows that the literature from that period consistently promoted the idea that, through the performance of traditional religious practice, humans can influence the gods to effect change in all spheres of life: in the cosmos, the city, and the individual psyche. Chapter 2 shows that this view was destabilized in the dawn of the classical period, in the fifth century BCE. The pre-Socratic philosophers and Sophists of this period introduced several theological innovations that forced their proponents to reevaluate the traditional story about what traditional Greek religious practices accomplished and how they accomplished it. Plato both expands and narrows the understanding of efficacy that is set forth in the archaic age. He argues that, for a token religious practice to be successful, it must be performed according to certain ethical standards. Chapter 3 outlines Plato’s ethical criteria and argues that, while the philosopher, like proponents of the Traditional View, denies the efficacy of “illegitimate” performances that contravene these standards, he believes that religious practice can influence all realms of human life theogenically through the instrumentality of the gods. It also shows that Plato expands the modes of efficacy by introducing the possibility that religious practices produce benefits anthropogenically, without the assistance of the gods. Chapters 4-5 each detail a specific religious practice and articulate how Plato thought they could be executed according to his standards. Chapter 4 investigates Plato’s identification of choral performance and sacrifice as forms of play in the Laws, arguing that he imagined them to function as games do elsewhere in that work, when pursued in accordance with the laws and reason, and when performed for pleasure’s sake. Chapter 5 evaluates the role of petitionary prayer in Plato’s dialogues and shows that the philosopher valued the practice for its ability to facilitate intellectual achievement and integrated petitionary prayer into his psychology. Chapters 6-7 focus on Aristotle’s treatment of efficacy. Chapter 6 examines Aristotle’s Metaphysics Λ and argues that, in contrast to Plato, Aristotle discards the Traditional View entirely by denying the ability of religious practices to move the gods to action or to effect change in the cosmos. It reconciles passages from the Nicomachean Ethics and Politics, which seem prima facie to endorse conventional attitudes towards the gods, with the philosopher’s metaphysical views, which appear to contradict them. Chapter 7 examines the social and psychological benefits of religious practice in Aristotle’s Politics, where the philosopher claims that the institution of religion forms a necessary part of the city. It demonstrates that, for Aristotle, religious practice provides residents with rest and leisure, obligates them to observe laws, and promotes the development of friendship between residents. (shrink)

비디오게임에 관한 논의는 비디오 게임의 영향(중독, 폭력), 혹은 비디오게임을 규정하는 규칙이 무엇인지의 질문에 국한 돼있다. 문제는 이에 따라, 놀이행위(gamic action) 그 자체에 대한 질문은 등한시되고 있다는 점이다. 좀 더 자세히 말하자면, 비디오게임을 하는 것(playing video games)이 어떤 특정한 행위 유형에 속하는지에 대한 물음은 간과되고 있다. 본고의 철학적 반성은 이러한 연구의 맹점을 보완하는 것을 시도한다. 여기서 비디오게임을 하는 것이 특히 ‘수행성’(performativity)과 ‘시각성’(visuality)의 관점에서 더 명료하게 개념화해야한다고 주장될 것이다. 어느정도까지 놀이활동에 대한 철학적-개념적 규명이 특수한 난점을 갖고 있는지에 대한 간략한 역사적-체계적 논의 (...) 후에, 비디오 게임을 하는 것이 어떤 특정한 행위의 의미를 갖는지에 대한 논의가 뒤따를 것이다. 여기서 놀이행위가 ‘관찰-수행적 행위’라는 용어 아래서 개념적 특성이 분석되는, 주체-이론적으로 복합적 행위로서 설명될 것이다. 그리고 주체의 구성과 경험에 놀이행위가 결정적 역할을 수행할 수 있다는 가능성에 대한 전망을 제시하는 것으로 본 연구를 마무리한다. (shrink)

Knowledge, Nature, and the Good brings together some of John Cooper's most important works on ancient philosophy. In thirteen chapters that represent an ideal companion to the author's influential Reason and Emotion, Cooper addresses a wide range of topics and periods--from Hippocratic medical theory and Plato's epistemology and moral philosophy, to Aristotle's physics and metaphysics, academic scepticism, and the cosmology, moral psychology, and ethical theory of the ancient Stoics.Almost half of the pieces appear here for the first time (...) or are presented in newly expanded, extensively revised versions. Many stand at the cutting edge of research into ancient ethics and moral psychology. Other chapters, dating from as far back as 1970, are classics of philosophical scholarship on antiquity that continue to play a prominent role in current teaching and scholarship in the field. All of the chapters are distinctive for the way that, whatever the particular topic being pursued, they attempt to understand the ancient philosophers' views in philosophical terms drawn from the ancient philosophical tradition itself.Through engaging creatively and philosophically with the ancient texts, these essays aim to make ancient philosophical perspectives freshly available to contemporary philosophers and philosophy students, in all their fascinating inventiveness, originality, and deep philosophical merit. This book will be treasured by philosophers, classicists, students of philosophy and classics, those in other disciplines with an interest in ancient philosophy, and anyone who seeks to understand philosophy in philosophical terms. (shrink)

A new analytical framework for understanding literary videogames, the literary-ludic spectrum, illustrated by close readings of selected works. In this book, Astrid Ensslin examines literary videogames—hybrid digital artifacts that have elements of both games and literature, combining the ludic and the literary. These works can be considered verbal art in the broadest sense (in that language plays a significant part in their aesthetic appeal); they draw on game mechanics; and they are digital-born, dependent on a digital medium (unlike, for example, (...) conventional books read on e-readers). They employ narrative, dramatic, and poetic techniques in order to explore the affordances and limitations of ludic structures and processes, and they are designed to make players reflect on conventional game characteristics. Ensslin approaches these hybrid works as a new form of experimental literary art that requires novel ways of playing and reading. She proposes a systematic method for analyzing literary-ludic (L-L) texts that takes into account the analytic concerns of both literary stylistics and ludology. After establishing the theoretical underpinnings of her proposal, Ensslin introduces the L-L spectrum as an analytical framework for literary games. Based on the phenomenological distinction between deep and hyper attention, the L-L spectrum charts a work's relative emphases on reading and gameplay. Ensslin applies this analytical toolkit to close readings of selected works, moving from the predominantly literary to the primarily ludic, from online hypermedia fiction to Flash fiction to interactive fiction to poetry games to a highly designed literary “auteur” game. Finally, she considers her innovative analytical methodology in the context of contemporary ludology, media studies, and literary discourse analysis. (shrink)

There is a substantial difference between our way of "philosophizing", born out of Descartes' clear and well-defined thinking and bent on building alternative (aut-aut) models, and the classical (especially Platonic-Aristotelian) way where a constant use of technical and methodical pluralism serves to juxtapose different (et-et) schemes necessary to grasp an intrinsically one-manifold reality. The ancient Philosophers bring a great wealth of schemes into play, albeit in different forms. This is to say that one could also come across statements (...) that are clearly mismatched and sometimes even at odds with one another, without either giving rise to a real contradiction or (even less so) a quasi relativistic viewpoint. Quite the contrary, an approach of this kind focuses on the necessary knowledge of a reality which, however, is multiform. By assuming this interpretative paradigm and applying it to some of the most pivotal reflections of the Sophists, Plato and Aristotle, the Authors of the contributions herein provide a number of particularly eloquent examples of that typically "Greek" movement, which is to proceed steadily by association of possibilities, rejecting the either/or solicitations and hinging their reflections upon the more open and dynamic "and-and" combination. The authors believe that many of the puzzles of Ancient philosophy that have involved and divided scholars can acquire a new and convincing explanation with this paradigm. (shrink)

Virtue is an examination of central topics in ancient Greek explorations of "virtue," particularly the elusive notion of "Sophrosune," alternatively translated as "moderation" or "temperance". The book investigates central works of Plato and Aristotle to develop an understanding of the role this virtue plays in the broader ethical commitments of Socrates, Plato and Aristotle.

Today’s everyone normal life can include a normal rate of playing computer games or video games; but what about an excessive or compulsive use of video games that impact on our life? Our kids, who usually spend a lot of time in playing video games will likely have a trouble in paying attention to their school lessons. In this paper, we introduce an expert system to help users in getting the correct diagnosis of the health problem of (...) video game addictions that range from (Musculoskeletal issues, Vision problems and Obesity). Moreover, this expert system provides information about the problem and tell us how we can solve it. SL5 Object expert system language was used to design and implement the expert system. (shrink)

Lately in the past couple of years, there are an increasing in the normal rate of playing computer games or video games compared to the E-learning content that are introduced for the safety of our children, and the impact of the video game addictiveness that ranges from (Musculoskeletal issues, Vision problems and Obesity). Furthermore, this paper introduce an intelligent tutoring system for both parent and their children for enhancement the experience of gaming and tell us about the health (...) problems and how we can solve them, with an easy user interface that way can our children be happy and excited about the information and their health. (shrink)

It might be left to the specialist philosophers to act as spokesmen and mediators in this matter, once they have largely succeeded in reshaping the original relationship of mutual aloofness and suspicion which obtains between the disciplines of philosophy, physiology, and medicine into the most amicable and fruitful exchange.What is the relation between violence and the unconscious in a world increasingly dominated by representations that are fictional yet might turn out to have effects that are all too real? Does an (...) affective participation in a violent spectacle—say, a theater play, a movie, or a computer game—serve as a cathartic therapy that purges the subject of pathological affects? Or do such images... (shrink)

ABSTRACTVirtual games are played by millions of people today. Almost everyone has the means to access virtual worlds in most places in the world. Virtual games are new worlds for the players waiting to be discovered. Video games in this new world are considered to be sports activities by some people, while some oppose to this conception. In this regard, philosophical approaches set out and the current state of whether video games are considered as sports activities is presented. (...) In addition to this classificatory issue an ethical one concerning the level of addiction for the players who immerse into the virtual worlds is also discussed, since the level of immersion is sometimes so high that some people die while playing video games on the computer. The answer to the question of how these video games can be so addictive is considered in relation to Johan Huizinga’s Homo ludens, and the notion of phantasm by Gilles Deleuze. It is argued that the fantasy aspect of video games is more dominant their being the... (shrink)

The starting point of this conversation with philosopher Mathieu Triclot is the issue of the causal contribution of video game playing in school shootings. Triclot explains the limitations of current psychological approaches regarding video game violence. He further develops on the peculiar features of the video game medium and how they relate to the problem of violence. Triclot eventually shows that, although players may relate to virtual violence in very different ways, violence in video games is (...) not merely a subjective phenomenon. He highlights that some “regimes of experience,” which got stable in the video game culture, cultivate a toxic relation to violence. (shrink)

Although the phenomenon of addiction has existed, in one form or another, throughout the entire history, in contemporary society it takes new, more powerful forms, that need to be better understood. Also, today there are new methods and technologies of research, unavailable to past generations, that can shed new light on this complex matter. It is also advisable to use an interdisciplinary approach, as different areas of research can in fact cooperate to achieve a better understanding of addiction. It must (...) also be taken into account that, being a very complex phenomenon, certain aspects of addiction can only be understood by certain sciences, and then the conclusions can be unified through the use of phenomenology. This study will try to perform precisely this kind of endeavor, revealing the phenomenon of addiction from more then one perspective, focusing on the many facets that it can have. (shrink)

In this book, Matthew Duncombe argues that Plato, Aristotle, certain Stoics, and Sextus Empiricus each held a broadly "constitutive" view of relativity. According to constitutive accounts, a "relative" is constituted by the relation that it bears to its "correlative". Such treatments of relativity sharply contrast with more familiar nonconstitutive accounts, according to which standing in some relation suffices for being a relative. On such a view, versions of which many scholars have assumed to be at work in antiquity, Alcibiades counts (...) as a relative because he is related to Socrates through the "is more beautiful than" relation. On... (shrink)

What role do imaginary games have in story-telling? Why do fiction authors outline the rules of a game that the reader will never watch or play? Combining perspectives from philosophy, literature and game studies, this book provides the first in-depth investigation into the significance of games in fictional worlds. With examples from contemporary cinema and literature, from The Hunger Games to the science fiction of Iain M. Banks, Stefano Gualeni and Riccardo Fassone introduce four key functions that different types (...) of imaginary games have in worldbuilding. First, fictional games can emphasize the dominant values and ideologies of the fictional society they belong to. Second, some games function as critical, utopian tools, inspiring shifts in the thinking and political orientation of the fictional characters. Third, imaginary games, especially those with a magical component, are conducive to the transcendence of a particular form of being, such as the overcoming of human corporeality. And fourth, fictional games can deceptively blur the boundaries between the contingency of play and the irrevocable seriousness of "real life", either camouflaging life as a game or disguising a game as something with more permanent consequences. With illustrations in every chapter, bringing the imaginary games to life, Gualeni and Fassone creatively inspire us to consider fictional games anew: not as moments of playful reprieve in a storyline, but as significant and multi-layered rhetorical devices. (shrink)

Ancient Greek thought saw the birth, in so-called Western philosophy, of the study now known as moral psychology. In its broadest sense, moral psychology encompasses the study of those aspects of human psychology relevant to our moral lives—desire, emotion, ethical knowledge, practical moral reasoning, and moral imagination—and their role in apprehending or responding to sources of value. This volume draws together contributions from leading international scholars in ancient philosophy, exploring central issues in the moral psychology of Plato, Aristotle, (...) and the Hellenistic schools. Through a series of papers and responses, these contributions challenge and develop interpretations of ancient views on topics from Socratic intellectualism to the nature of appetitive desires, from the role of pleasure and pain in virtue, to our capacities for memory, anticipation and choice, and their role in a flourishing human life. (shrink)

John J. Cleary was an internationally recognised authority in ancient Greek philosophy. This volume of penetrating studies of Plato, Aristotle, and Proclus, philosophy of mathematics, and ancient theories of education, display Cleary’s range of expertise and originality of approach.

Metagames: Games About Games scrutinizes how various meta devices, such as breaking the fourth wall and unreliable narrator, change and adapt when translated into the uniquely interactive medium of digital games. Through its theoretical analyses and case studies, the book shows how metafictional experimentation can be used to both challenge and push the boundaries of what a game is and what a player's role is in play, and to raise more profound topics such as those describing experiences of people (...) of oppressed identities. The book is divided into six chapters that deal with the following meta devices: breaking the fourth wall, Hypermediation, unreliable narrator, abusive game design, fragmentation, and parody. The book will predominantly interest scholars and students of media studies and game studies as it continues discourses held in the discipline regarding the metareferential character of digital games. (shrink)

What is art's relationship to play? Those interested in this question tend to look to modern philosophy for answers, but, as this book shows, the question was already debated in antiquity by luminaries like Plato and Aristotle. Over the course of eight chapters, this book contextualizes those debates, and demonstrates their significance for theoretical problems today. Topics include the ancient child psychology at the root of the ancient Greek word for 'play', the numerous toys that have (...) survived from antiquity, and the meaning of play's conceptual opposite, the 'serious'. What emerges is a concept of play markedly different from the one we have inherited from modernity. Play is not a certain set of activities which unleashes a certain feeling of pleasure; it is rather a certain feeling of pleasure that unleashes the activities we think of as 'play'. As such, it offers a new set of theoretical challenges. (shrink)

AAA videogames often offer expansive experiences to the millions who engage with the medium, but they are vulnerable to disruption from neoliberal structures. The Corruption of Play explores how neoliberal ideology corrupts play in AAA videogames by creating conditions in which play becomes unbound from leisure, allowing play to be understood, undertaken, and assessed in economic terms, and fundamentally undermining the nature of play. Providing a cutting-edge and innovative approach to this problem, McMahon uses cognitive (...) mapping to make neoliberalism visible in play-space, showcasing a new way of seeing and understanding how play is enabled and how the player forms an understanding of themselves by it. How does the player form their sense of self in the videogame? What level of agency does the player have? How are AAA videogames consumed and what is the extent of the corruption of play? Offering a timely level-up to the existing critical work on videogames, McMahon's revelations that play in AAA videogames does not often occur under ideal conditions due to the influence of neoliberal ideology are a captivating read for communication and media scholars interested in videogames. Understanding that play should be a core activity, and a natural barrier to market and economic logics, McMahon sets the scene for equipping us to understand how the process of neo liberalisation can be resisted. (shrink)

Among the educative games of Plato’s Cretan city, choral performances have a prominent role. This paper examines the function of play (παιδιά) in the choral education in virtue in Plato’s Laws. I reconstruct the notion of play as it is elaborated throughout this dialogue, and then show how it contributes to solving the problem of virtue acquisition in the Athenian’s account of moral education through songs and dances. I argue that play in the Laws is best understood (...) an imitative activity that is intrinsically pleasurable, ordered by rules and patterns of repetition, and undertaken for its own sake by a player whose psychic condition is childish. Thus interpreted, we are in a better position to see why choruses must be engaged in playfully. Because the self-likening (ὁμοίωσις) process choral performances aim at requires pleasure and because pleasure normally obtains when there is a concordance between one’s character and the imitations, virtue acquisition is best secured if the imitations of virtue in choruses are performed playfully. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Satyr Play in Plato's SymposiumM. D. UsherIn the Symposium, Socrates jokingly declares that "the satyric—nay silenic—drama" of Alcibiades' drunken panegyric was perfectly clear to the guests that evening at Agathon's house (222d3-4).1 Though this statement implies an extended treatment of a theme, discussions of silenic elements in the dialogue have rarely ventured far beyond the overt comparison of Socrates to a Silenus or Marsyas figure in Alcibiades' speech (...) (215a4-222b7).2 Yet, as Paul Zanker has observed (1995, 38), "There is surely more than one aspect to the comparison of Socrates to Silenus." In fact, the final scenes of the Symposium are riddled with satyric motifs, many of which Plato inverts or otherwise adapts, in the pointed critique of wealth, beauty, and sexual attraction that he achieves in the character of Socrates.Let me begin defending this thesis with a Platonic analogy and suggest that if we look at the big letters first, we will be able to read the smaller ones more readily: Though it has only recently, and only in passing, been adduced as a source (Clay 2000, 74), much of the scene involving Alcibiades and Socrates is modeled on the myth of King Midas' capture of the satyr Silenus.3 While the extant sources for the Midas legend are disparate and fragmentary, an investigation into its literary provenance and the uses to which it was put in antiquity (section 1 of this essay) suggests that the encounter between Midas and Silenus was something of a literary set piece that had been used as a vehicle for popular wisdom and philosophic critique long before Plato's time. Indeed, in [End Page 205] reusing the story in just this fashion in his lost dialogue, the Eudemus,4 Aristotle highlights both its popularity and antiquity, describing it as "having been carried about on the lips of men for many years now."5The finer print (section 2) involves another source never previously adduced in discussions of the Symposium, Euripides' Cyclops, where we will consider both what is particular to that play (our only complete satyr drama) and what is typical of the genre.6 Cyclops was produced in the last five years of Euripides' life,7 when an impressionable Plato, that "nursling of Attic drama,"8 was in his early twenties.An awareness of the extent of Plato's use and adaptation of satyr lore in the Symposium is essential for a full appreciation of his philosophy of love, his technique as an author, and the purpose of the dialogue. Einstein once said that the secret to creativity is hiding one's sources. In constructing the final scenes of the Symposium, Plato is deeply unoriginal in precisely this sense. It would be well to emphasize at the start, however, that the satyric motifs adduced here—as legendary and mythic material—would have had a wide currency in many media, and one need not advance or defend arguments for strictly literary dependence. Indeed, it will be seen that the way Plato incorporates silenic elements into the Symposium is suggestive and indirect, though no less compelling, important, or even intentional for that reason. That Plato's purpose in including them is as apologetic as it is literary and philosophical is discussed in a concluding section where I attempt to bring some recent readings of Plato under one head. [End Page 206]I. The Capture of SilenusSome minor variants notwithstanding,9 the basic outline of this story is as follows: Silenus is captured while sleeping by Midas' henchmen, who have tricked him by spiking a river with wine; whereupon, in exchange for his release, Silenus agrees to reveal to Midas hidden wisdom about man and the nature of the world.10 Both the apprehension of the satyr while sleeping and the conversation that follows in the myth are adapted by Plato in the part of the Symposium where Alcibiades describes his unsuccessful romantic overtures toward Socrates. Having prevailed upon Socrates to come to dinner and spend the night, Alcibiades approaches the satyr-sage in bed and asks if he is sleeping (218c3). By Plato's inversion, however, it turns out that Socrates, unlike the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Plato and Pythagoreanism by Phillip Sidney HorkyGabriele CornelliPhillip Sidney Horky. Plato and Pythagoreanism. Oxford University Press, 2013. xxi + 305 pp. Cloth, $74.Ceci n’est pas un livre sur Pythagore. With these clever and rather playful words, Horky’s book starts its literary journey through a wide range of Pythagorean sources, including Epicharmus, Empedocles, Philolaus, Eurytus and Arquitas, and Pythagorean themes, like numbers, immortality of the soul, limitness/unlimitness, among others.From (...) this explosive incipit, one would think that Horky agrees with Kahn’s almost forty-year-old observation about the fact that new theories of Pythagoreanism are not necessary in our present day and age (1974, 163, n. 6):It’s hard enough to satisfy minimal standards of historical rigor in discussing the Pythagoreans, without introducing arbitrary guesswork of this sort where no two students can come to the same conclusion on the basis of the same evidence. In fact, the direct testimony for Pythagorean doctrines is all too abundant. The task for a serious scholarship is not to enrich these data by inventing new theories or unattested stages of development but to sift the evidence so as to determine which items are most worthy (or least unworthy) of belief.On the contrary, however, Horky’s approach seems surprisingly to direct the reader towards a fundamentally historiographical rather than philological brand of work, that is, one devoted neither exclusively to the exegesis of Pythagorean sources nor even to the theoretical approach of one of the themes that received specific contributions from Pythagoreanism, such as mathematics, cosmology, politics, or the theory of the immortal soul. This is mainly true when one recognizes, from the title on, that the main goal of the book is to try to determine, once and for all, what is the extent of Pythagorean influence on Plato’s thought. Rather an historiographical problem, I would say. And a good one.In order to do so, Horky needs to trace down a sort of history of mathematical Pythagoreanism from a huge variety of informed ancient sources and perspectives. Horky’s approach to the sources is well-grounded, not only in Burkert’s fundamental works, but also in the recent revival in Pythagorean studies which took over ancient philosophy scholarship in the last two decades: Huffmann’s works on Philolaus (1993) and Arquitas (2005); Zhmud (1997) and Kahn (2001) on early Pythagoreans; Riedweg on Pythagoras (2002), among many others. After the publishing of Horky’s book, two sorts of Companions to Pythagoreanism confirm the trend of the revival: Cornelli, McKirahan, and Macris (2013), acts of the On Pythagoreanism seminar held in Brasilia by Archai [End Page 353] UNESCO Chair, and Huffman (2014). Luckily, Pythagorean scholarship has now gotten rid of that old-fashioned scepticism, starting from Zeller’s famous statement that the relevant sources are a “mixture of fables and poetry.” As Horky’s book seems to suggest, the job can be done. And he has definitely proved to be able to force his way through, with both clear philological arguments and refined historiographical hypotheses.Not surprisingly, a work on Plato and Pythagoreanism starts with a chapter on Aristotle: “Aristotle on Mathematical Pythagoreanism in the Fourth Century BCE” (chap. 1). The idea of the chapter is to rely on Aristotle’s distinction between the mathematical and acousmatic branches of Pythagoreanism. While acousmatic Pythagoreans supposedly did not engage in demonstration, the so-called mathematical Pythagoreans engaged in investigations based on mathemata in order to give an account (the reason why of the world they perceived). Horky seems to drive Aristotle’s account to a specific goal: mathematical Pythagoreans would have established some kind of correspondence between numbers and sensibles, and their ontology would have a direct relation to social and political organization.Chapter 2, “Hippasus of Metapontum and Mathematical Pythagoreanism,” is entirely dedicated to the account of the later doxographical tradition on Hippasus, the alleged progenitor of mathematical Pythagoreanism. Avoiding the risk of falling into the “bottomless pit” of research on the Pythagoreans—in Guthrie’s famous words (1962, 146, n. 1)—Horky manages his inquiry boldly and in a quite elegant way. Between the peripatetic systematization and the platonic derivation of Hippasus’ philosophy, Hippasus... (shrink)

The Paradox of Transgression in Games looks at transgressive games as an aesthetic experience, tackling how players respond to game content that shocks, disturbs, and distresses, and how contemporary video games can evoke intense emotional reactions. The book delves into the commercial success of many controversial videogames: although such games may appear shocking for the observing bystander, playing them is experienced as deeply rewarding for the player. Drawing on qualitative player studies and approaches from media aesthetics theory, the book (...) challenges the perception of games as innocent entertainment, and examines the range of emotional, moral, and intellectual experiences of players. As they explore what players consider transgressive, the authors ask whether there is something about the gameplay situation that works to mitigate the sense of transgression, stressing gameplay as an aesthetic experience. Anchoring the aesthetic game experience both in play studies as well as in aesthetic theory, this book will be an essential resource for scholars and students of game studies, aesthetics, media studies, philosophy of art, and emotions. (shrink)

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