Plato: Hippias Major

O objetivo deste estudo é propor um modelo explicativo ao problema da beleza desenvolvido no diálogo Hípias Maior de Platão. É um lugar-comum entre os estudiosos defender o senso aporético do diálogo, ressaltando como todas as hipóteses formuladas são descartadas pelos interlocutores, tese que é geralmente endossada pela afirmação final de que as coisas belas são difíceis (304e8). No entanto, no epicentro deste emaranhado de hipóteses, algumas conclusões importantes surgem e serão, conforme se espera demonstrar, fortemente incorporadas em outros lugares (...) daquilo que chamamos de corpus platônico. Assim, a partir desta condição fragmentária, inerente ao próprio texto, e através dela mesma, a presente dissertação visa propor um senso de unidade ao diálogo. Para cumprir tal intento, defende-se que a estrutura do diálogo repousa em três características centrais, sendo estas responsáveis por qualificar o belo em si, são elas: a ordem (kalós é identificado com o kósmos, a ordem, à medida em que estabelece um principio estético de organização, garantindo a ordem harmônica dos seres); a admiração (isto é, o objeto perseguido tem uma validade permanente e universal de estima e, neste sentido, aparece conectado àquilo que é genuinamente bom (agathós), embora a ele não se limite); e, por fim, o comum (kalós é identificado com o koinós, o comum, pois é apresentado como aquilo que é compartilhado pelas coisas belas). A partir destas atribuições, espera-se alcançar uma designação apropriada do belo, de modo a conferir uma certa dignidade e prestígio a um diálogo pouco abordado nos estudos platônicos. (shrink)

Trata-se de tradução do Hípias Maior de Platão para o Português, com algumas notas de elucidação e justificação das opções.

In the 'Hippias Major' Socrates uses a counter-example to oppose Hippias‘s view that parts and wholes always have a "continuous" nature. Socrates argues, for example, that even-numbered groups might be made of parts with the opposite character, i.e. odd. As Gadamer has shown, Socrates often uses such examples as a model for understanding language and definitions: numbers and definitions both draw disparate elements into a sum-whole differing from the parts. In this paper I follow Gadamer‘s suggestion that we should focus (...) on the parallel between numbers and definitions in Platonic thought. However, I offer a different interpretation of the lesson implicit in Socrates‘s opposition to Hippias. I argue that, according to Socrates, parts and sum-wholes may share in essential attributes; yet this unity or continuity is neither necessary, as Hippias suggests, nor is it impossible, as Gadamer implies. In closing, I suggest that this seemingly minor difference in logical interpretation has important implications for how we should understand the structure of human communities in a Platonic context. (shrink)

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

Este estudo teve como objetivo estimar a Qualidade de Vida (QV) em pacientes com transtorno depressivo maior antes e após tratamento antidepressivo eficaz. Participaram do estudo 26 indivíduos (18 a 65 anos) com episódio agudo de Transtorno Depressivo Maior, segundo critérios do DSM-IV. A duração do..

This is an English translation of four of Plato’s dialogue (Protagoras, Euthydemus, Hippias Major, and Cratylus) that explores the topic of sophistry and philosophy, a key concept at the source of Western thought. Includes notes and an introductory essay. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a glossary intending to provide the reader with some sense of the terms and the concepts as they were understood by Plato’s immediate audience.

There are two different approaches to the Hippias Major. The first emphasises its conformity to a pattern, with the aim of uncovering a single argumentative structure common to several ‘Socratic’ dialogues. The second approach emphasises elements specific to the Hippias Major, including dramatic features such as character, with the aim of finding the best reading of the dialogue taken individually. I make use of the second approach to show that a careful reading of the dialogue by itself does not support (...) the widely held view that Socrates’ interlocutor, the sophist Hippias, misunderstands the central question. I propose a new basis for the Socrates-Hippias exchange which gives an important role to the notion of explanation, and I show that this reading enables us to detect and analyse an argument presented against the position advocated by Hippias. I make a connection between the interpretation defended here and some broader issues about our understanding of the development of Plato’s philosophy. (shrink)

ABSTRACTThe aim of this article is twofold: first, to show that, in Plato'sHippias Major,Hippias is the mouthpiece of a materialist ontology; second, to discuss the critique of this ontology. My argument is based on an interpretation ofHippias Major300b4–301e3. I begin by revealing the shortcomings of P. Woodruff's and I. Ludlam's interpretations. Next, I define the concept of materialism as it was understood in ancient Greece in order to outline the specificity of Hippias' materialism. Finally, I argue that the opposition between (...) the two characters of theHippias Majorrepresents in fact an ontological opposition between two conceptions of what a unity is, i.e., Hippias' elementary corporal unities and Socrates' “formal unity.”. (shrink)

“Beauty is truth, truth beauty, –that is allYe know on earth, and all ye need to know”.Hippias of Elis travels throughout the Greek world practicing and teaching the art of making beautiful speeches. On a rare visit to Athens, he meets Socrates who questions him about the nature of his art. Socrates is especially curious about how Hippias would define beauty. They agree that "beauty makes all beautiful things beautiful," but when Socrates presses him to say precisely what he means, (...) Hippias is unable to deliver such a definition. The more Socrates probes, the more absurd the responses from Hippias become. This is one of Plato's best comedies and one of his finest efforts at posing the difference between particular things and universals.Aristotle's Poetics is best known for its definition and analysis of tragedy, but it also applies to truth and beauty as they are manifested in the other arts. In our age when the natural and social sciences have dominated the quest for truth, it is helpful to consider why Aristotle claimed "poetry is more philosophical and more significant than history." In this postmodern era when the arts have been separated from ethics, it is worthwhile to consider Aristotle's way of connecting goodness and beauty. (shrink)

The first half of Plato’s Hippias Major exhibits the interfacing of the first teacher (Socrates) with the first version of a post-colonial, multi-cultural information technology system (Hippias). In this interface the purposes, results, and values of two contradictory types of operating system for educational servicing units are exhibited to, and can be discovered by, anyone who is not an information technologist.

The first half of Plato’s Hippias Major exhibits the interfacing of the first teacher (Socrates) with the first version of a post-colonial, multi-cultural information technology system (Hippias). In this interface the purposes, results, and values of two contradictory types of operating system for educational servicing units are exhibited to, and can be discovered by, anyone who is not an information technologist.

Neither of Plato's Hippias dialogues has received much attention as a whole. The significant early portions of both are largely ignored, and when treated at all, given brief consideration. One purpose of this dissertation, is to use all that Plato provides, including the openings of the dialogues, to construct a richer, more comprehensive, understanding of the Hippias Major and the Hippias Minor than previously available. ;Though each of the two dialogues may be understood independently, it seems probable that Plato chose (...) Hippias as the interlocutor for both with good reason. The choice indicates a strong connection between the dialogues. Since it may always prove helpful to use an understanding of Plato's philosophy gained in the study of one dialogue as an aid in comprehending another, in a case such as this, where the discussions in both dialogues are between the same two persons, the dialogues should especially be expected to shed light on each other. Therefore, although I respect the independence of each dialogue by developing a pair of commentaries, I deal with them in the same work and explore a set of common themes throughout both. I especially look at the theme of the appropriate use of one's wisdom both publicly and privately, and the contest this sets up between sophistry and philosophy. (shrink)

This strange dialogue becomes intelligible when Socrates is treated as a model of the good man who appears to the Many to be bad talking with a Hippias who is a model of the bad man who appears to the Many to be good. The good and apparently good are dramatized through these models. The good is revealed to be the fitting, while the fine/beautiful (kalon) is revealed to be the apparently fitting (hence the many confusions between the two concepts). (...) Fittingness may be perceived through the senses, but this immediate aesthetic fittingness is confused by the Many with pragmatic fittingness which can actually only be perceived over time and with rational thought. Many associated themes are condensed into this short but brilliant philosophical drama. (shrink)

In his article in a recent issue of the Classical Quarterly Mr. G. M. A.Grube attempts to vindicate the authenticity of the Hippias Maior, concentrating his attention upon an article by me as ‘embodying most of the objections of earlier scholars’ against the genuineness of the dialogue. I believe that I am still ‘the latest exponent,’ in any detail, of this view; but I may claim at least some good company in the heresy, and to the names already cited by (...) Mr. Grube or myself may be added in particular that of Wilamowitz, who also believes the Hippias Maior to have been written in the Academy within Plato's lifetime. I was not aware when writing my previous article of this noteworthy support in a work just then appearing. (shrink)

Grote's powerful defence of Thrasyllus' canon should have taught us at least not to reject lightly any dialogue which, like the Hippias Maior, is there classed as genuine. The burden of proof lies with those who attack our dialogue. Raeder, Ritter, and Apelt consider it to be genuine, while Ast, Jowett, Horneffer, and Röllig declare against it, as also Gomperz, Zeller, and Lutoslawski.