Online research in philosophy

The Laws was Plato's last work, his longest, and one of his most difficult. In contrast to the Republic, which presents an abstract ideal not intended for any actual community, the Laws seems to provide practical guidelines for the establishment and maintenance of political order in the real world. With this book, the distinguished classicist Seth Benardete offers an insightful analysis and commentary on this rich and complex dialogue. Each of the chapters corresponds to one of the twelve books of the Laws, illuminating the major themes and arguments, which have to do with theology, the soul, justice, and education. The Greek word for law, "nomos," also means musical tune. Bernardete shows how music--in the broadest sense, including drama, epic poetry, and even puppetry--mediates between reason and the city in Plato's philosophy of law. Most broadly, however, Benardete here uncovers the concealed ontological dimension of the Laws, explaining why it is concealed and how it comes to light. In establishing the coherence and underlying organization of Plato's last dialogue, Benardete makes a significant contribution to Platonic studies.

Machine generated contents note: Introduction; Part I. Theoretical Views about Pity and Fear as Aesthetic Emotions: 1. Drama and the emotions: an Indo-European connection? 2. Gorgias: a strange trio, the poetic emotions; 3. Plato: from reality to tragedy and back; 4. Aristotle: the first 'theorist' of the aesthetic emotions; Part II. Pity and Fear within Tragedies: 5. An introduction; 6. Aeschylus: Persians; 7. Prometheus Bound; 8. Sophocles: Ajax; 9. Euripides: Orestes; Appendix: catharsis and the emotions in the definition of tragedy in the Poetics.

Oedipus the tyrant and the limits of political rationalism -- Blind faith and enlightened statesmanship in Oedipus at colonus -- The pious heroism of Antigone -- Conclusion: Nietzsche, Plato, and Aristotle on philosophy and tragedy.

Poetry -- Drama -- Philosophy -- History -- Fables, Novels, and Speeches.

Boldly contesting recent scholarship, Sallis argues that The Birth of Tragedy is a rethinking of art at the limit of metaphysics. His close reading focuses on the complexity of the Apollinian/Dionysian dyad and on the crossing of these basic art impulses in tragedy. "Sallis effectively calls into question some commonly accepted and simplistic ideas about Nietzsche's early thinking and its debt to Schopenhauer, and proposes alternatives that are worth considering."--Richard Schacht, Times Literary Supplement.

German classicist's monumental study of the origins of European thought in Greek literature and philosophy. Brilliant, widely influential. Includes "Homer's View of Man," "The Olympian Gods," "The Rise of the Individual in the Early Greek Lyric," "Pindar's Hymn to Zeus," "Myth and Reality in Greek Tragedy," and "Aristophanes and Aesthetic Criticism.".

These essays reveal a dynamic range of interactions, reactions, tensions, and ambiguities, showing how Greek literary creations impacted and provided the ...

How were the Greeks of the sixth century BC able to invent philosophy and tragedy? Richard Seaford argues that a large part of the answer can be found in another momentous development, the invention and rapid spread of coinage. By transforming social relations, monetization contributed to the concepts of the universe as an impersonal system (fundamental to Presocratic philosophy) and of the individual alienated from his own kin and from the gods, as found in tragedy.

This is a major study of conceptions of selfhood and personality in Homer and Greek Tragedy and Philosophy. The focus is on the norms of personality in Greek psychology and ethics. Gill argues that the key to understanding Greek thought of this type is to counteract the subjective and individualistic aspects of our own thinking about the person. He defines an "objective-participant" conception of personality, symbolized by the idea of the person as an interlocutor in a series of psychological and ethical dialogues.