The short treatise On the Cosmos, which most scholars believe to be not by Aristotle, has confidently been attributed to Aristotle by G. Reale and A. P. Bos. I do not wish to enter into their arguments for this attribution, because I believe it can be proved to be untenable.

The short treatise On the Cosmos, which most scholars believe to be not by Aristotle, has confidently been attributed to Aristotle by G. Reale and A. P. Bos. I do not wish to enter into their arguments for this attribution, because I believe it can be proved to be untenable.

Scholarship on ancient skepticism has undergone a remarkable renaissance in the last three decades. Specialists in ancient philosophy have explored the complex history of the Greco‐Roman skeptical traditions and discussed difficult philological and exegetical issues. But they have also assessed the philosophical significance of the various ancient skeptical outlooks. In this first paper, I provide a general presentation of this area of study, while in the two subsequent articles I will focus on some of the topics that have been the (...) object of much attention in the recent literature on ancient skepticism. (shrink)

It is well-known that in recent years, alongside the familiar forms of modern ethical theory, such as consequentialism, deontology, and rights theory, there has been a resurgence of interest in what goes by the name of “virtue ethics” — forms of ethical theory which give a prominent status to the virtues, and to the idea that an agent has a “final end” which the virtues enable her to achieve. With this has come an increase of theoretical interest in ancient ethical (...) theories, particularly Aristotle's, an interest which has made a marked difference in the way ethics is pursued in the Anglo-Saxon and European intellectual worlds. In this essay, I shall not be discussing modern virtue ethics, which is notably protean in form and difficult to pin down. I shall be focusing on ancient eudaimonistic ethical theories, for in their case we can achieve a clearer discussion of the problem I wish to discuss. (shrink)

The aim of this thesis is to explore the relationship between Achilles Tatius' novel Leucippe and Cleitophon and the Platonic corpus. I have searched for Platonic allusions of various natures and purposes and grouped them into thematic chapters. I have also compared instances of similar uses of Plato in contemporary authors in order to classify both the individual cases and the place of Achilles Tatius' novel in its literary environment, including the intended readership. In my introduction I have argued that (...) through the combination in his works of philosophy and literary excellence Plato was an extremely important figure to the Greeks of the second sophistic. However, despite the increasingly influential opinion that Greek novel readership was not dissimilar to that of other works, the possibility that the Greek novelists used Plato in a more than cosmetic fashion has been relatively neglected. The uses of Plato on which I have concentrated are the employment of Platonic names as allusions to their namesakes; Platonic narrative technique as the model for the dialogue form and open-endedness of Leucippe and Cleitophon with the integration of this technique into the broader question of the discrepancies between the beginning and the end; the allusion to a particularly famous passage of the Phaedrus in the name of the heroine; the repeated allusions to the Phaedran flow of beauty, their purposes and the light they shed on the characterisation of Cleitophon; and the Phaedran scene-setting, indulged in by many other writers, which Achilles Tatius uses in two significant passages. The conclusions I have reached are that Achilles Tatius uses Plato far more extensively and imaginatively than hitherto realised; that such an intimate engagement can shed light on other issues, such as psychological characterisation and the question of humour; that Achilles Tatius wrote something of an "anti-Platonic" novel; and that his work displays many similarities with other works whose sophistication is less in doubt. (shrink)