Plato: Appearance and Reality

The paper puts forward a new interpretation of the image of the Cave, that is the image on human paideia (education) and apaideusia (lack of education). The cause of the apaideusia (R.514a) is identified as a separation from the origin. (1) First, the relation between the Cave, the analogy of the Linie and the Sun is shown not to be a strict parallelism, but a resemblance, which implies sameness and difference between Sun, Line and Cave. (2) Second, the author argues (...) that the idea of the Good is the necessary condition for the possibility of being, truth and thought. It is the highest principle and the ultimate foundation of Plato’s ethics. (3) Third, the author describes Plato’s paideia (education) as holistic, that is: it involves the spiritive and appetitive part of the soul. (shrink)

Possibility of falsehood arises in the early parts of plato's "sophist". I argue that the participants in the dialogue operate with two related analogies, one which considers spoken images to be fundamentally like seen images, and another analogy which considers the objects of stating or believing to be like the objects of perceiving. (the second analogy has parallels in "theaetetus" 188c-189b). These analogies lead to confusions which plato attempts to dispel in the later portions of the "sophist".

Contemporary platonism has been conditioned in large part by two dogmas. One is the belief in a fundamental cleavage between intelligible but invisible Platonic forms that are real and eternal, and perceptible objects whose confinement to spacetime constitutes an inferior existence and about which knowledge is impossible. The other dogma involves a kind of reductionism: the belief that Plato’s unhypothetical first principle of the all is identical to the form of the good. Both dogmas, I argue, are ill-founded.

Guided by the bold ambition to reexamine the nature of philosophy, questions about the foundations and origins of Plato’s dialogues have in recent years gained a new and important momentum. In the wake of the seminal work of Andrea Nightingale and especially her book Genres in Dialogue from 1995, Plato’s texts have come to be reconsidered in terms of their compositional and intergeneric fabric. Supplementing important research on the argumentative structures of the dialogues, it has been argued that Plato’s philosophizing (...) cannot be properly assessed without considering its intellectual debts. By detailed examinations of the practical, generic and textual origins of the dialogues, it has been shown how Plato’s chosen form of philosophical inquiry is deeply influenced by traditional forms of poetry, rhetoric, sophistry, and even medicine... (shrink)

Some philosophers argue that false speech and false belief are impossible. In the Sophist, Plato addresses this 'falsehood paradox', which purports to prove that one can neither say nor believe falsehoods. In this book Paolo Crivelli closely examines the whole dialogue and shows how Plato's brilliant solution to the paradox is radically different from those put forward by modern philosophers. He surveys and critically discusses the vast range of literature which has developed around the Sophist over the past fifty years, (...) and provides original solutions to several problems that are so far unsolved. His book will be important for all who are interested in the Sophist and in ancient ontology and philosophy of language more generally. (shrink)

Heidegger's interpretation of Nietzsche has been canonized in the philosophical tradition as an almost perfect demonstration of how the forgetfulness of Being continues the dominant positions of modern metaphysics. However, the role of reading in the interpretative process casts a different light on Heidegger's approach to Nietzsche and his relationship to the philosophical tradition. This paper is concerned with three aspects of Heidegger's work, namely, (i) the role of Kant and Schopenhauer in Nietzsche's critique of metaphysics; (ii) Nietzsche's 'inversion' of (...) Platonism; and (iii) Heidegger's contribution to a hermeneutical reappraisal of Nietzsche's thought. (shrink)

Studies of Plato’s metaphysics have tended to emphasise either the radical change between the early Theory of Forms and the late doctrines of the Timaeus and the Sophist, or to insist on a unity of approach that is unchanged throughout Plato’s career. The author lays out an alternative approach. Focussing on two metaphysical doctrines of central importance to Plato’s thought – the Theory of Forms and the doctrine of Being and Becoming – he suggests a continuous progress can be traced (...) through Plato’s works. He presents his argument through an examination of the metaphysical sections of six of the dialogues: the Euthyphro, Phaedo, Republic, Parmenides, Timaeus, and Sophist. (shrink)

The paper offers an interpretation of a disputed portion of Plato’s Theaetetus that is often called the Secret Doctrine. It is presented as a process ontology that takes two types of processes, swift and slow motions, as fundamental building blocks for ordinary material objects. Slow motions are powers which, when realized, generate swift motions, which, in turn, are subjectively bundled to compose sensible objects and perceivers. Although the reading of the Secret Doctrine offered here—a new version of the “Causal Theory (...) interpretation”—is not without problems, these problems are acknowledged in Plato’s text, confirming that this interpretation is correct. (shrink)

In Book VII of the Republic, Plato set out to distinguish between the real and the phoney simulacrum. This paper is aimed at examining today’s cinematography from the lens of Plato’s ‘Allegory of the Cave.’ It thus argues that in our film theatres today, films have been inundated with illusions and realism that it is becoming very difficult to distinguish between appearance and reality. In essence, it claims that what the viewers see in cinemas are, in the Deleuzean phrase the (...) directors’ ‘delirious visions of aestheticism’ which more or less confound their binocular visions. What they see are the things the film directors had framed. To put this paper into perspective, while analyzing the film ‘Slumdog Millionaire’ through Plato’s ‘Allegory of the Cave,’ it argues from the framework of Deleuzean ‘Cinematographic Concepts;’ where, he argues that ‘the image of the cinema’ is ‘automatic’ and is ‘presented as movement-image’ and variously defined into types: ‘the perception-image’, ‘the affection-image’ and ‘the action-image.’ Therefore, this paper adduces as it were, the critique of cinematographic illusions and realism and then it cuts across, at the same time, the concept of the ‘code’ in semiotics. However, this paper acknowledges the fact that in its analysis it does follow a multidisciplinary approach. (shrink)

Plato and Platonism reviews the natures and limits of Platonic interpretation. Students, academics and researchers will find that Moravcsik's careful and rigorous analysis offers an understanding of what Platonism in our times would have been like. The book leads us to an appreciation of genuine Platonism, rarely discussed today.

This paper examines the discussion about false pleasures in the "Philebus" (36 c3-44 a11). After stressing the crucial importance of this discussion in the economy of the dialogue, it attempts to identify the problematic locus of the possibility of true or false pleasures. Socrates points to it by means of an analogy between pleasure and doxa. Against traditional interpretations, which reduce the distinction drawn in this passage to a distinction between doxa and pleasure on the one hand and their object (...) on the other, it is argued that, rather, Socrates distinguishes between the mere fact of having a doxa or a pleasure, on the one hand, and the content of these acts, on the other hand. Consequently, the possibility for a pleasure to be false does not concern its relation to an object, but the affective content which defines it. In order to show how the affective content of a pleasure can be false, it is necessary to examine the three species of false pleasures described by Socrates in their relation to appearance and imagination. Appearance is not identical with perception for Plato: it consists in a mixture of perception and doxa. As for imagination, it consists in "illustrating" a doxa present in the soul by means of a "quasi-perception". It is the presence of a doxa in each of these processes which makes it possible for them to be true or false, while mere perception cannot be either true or false. It is then argued that according to the "Philebus" pleasure can be false precisely because its affective content is not a mere perception, but either an appearance or an imagination. (shrink)

Ce que Platon appelle la « vérité » du plaisir ne désigne pas plus l'« exactitude » que le « découvert » — le sentiment ne sait rien, en effet, de ce qui apparaît et de l'apparaître même — mais la pureté et ainsi l'authenticité des plaisirs qui sont vraiment et seulement du plaisir (délivré du goût de la souffrance). La biologie platonicienne recherche la vérité et dénonce la tromperie parce qu'elle veut purifier la vie humaine de ce qui lui (...) fait mal, parce qu'elle veut nous sauver la vie. What Flato calls the "truth "of pleasure does not mean "rightness" any more than "non concealment" — a feeling knows neither appearances nor appearing itself — but the purity and therefore genuineness of pleasures which are truly and solely pleasure (free from any pain). Platonic bio-logy is in search of truth and denounces deceit because it aims at purifying and saving our life ("Plato has already invented the 'Saviour'"). (shrink)

We ought to combine the predicative and veridical readings of estin. Plato’s view involves a parallelism between truth and being: when we know, we grasp a logos which is completely true and is made true by an on which is completely (F). Opinion takes as its object a logos which is no more true than false and which concerns things which are no more (F) than not (F). This view, I argue, is intelligible in the context of the presuppositions which (...) underlie Socratic ‘What is F?’ questions. (shrink)

In this paper I argue that Plato’s Alcibiades is the embodiment of what I call the epithumetic comportment, a way of life made possible by the naïve ontological assumption that appearance is all that is. In the first part of the paper, I read select portions of the Alcibiades I and establish a distinction between the epithumetic comportment, which desires gratification in exchange for flattery, and the erotic comportment, which desires care of the soul. In the second half of the (...) paper I turn to the Symposium and argue that Alcibiades fails in his seduction of Socrates because his inability to abandon the epithumetic comportment makes it impossible for him to be a Socratic interlocutor and subsequently know philosophical Forms. Through an interrogation of Alcibiades’s character we see that his failure is to be blamed neither on ‘Platonic love’ nor on Socrates himself but should be understood as a consequence of his inability to truly care for himself. I conclude by analyzing the consequences of my argument for typical interpretations of Alcibiades’s encomium to Socrates. (shrink)

The Theaetetus is subtitled peri epistemes, on knowledge, and peirastikos, tentative. Theaetetus' three attempted definitions of knowledge, each ventured only to fail, are structured in a cascading reduction. This regress functions both negatively, as an indirect demonstration that knowledge is not definable in term of opinion or judgment, that is, knowledge is not "opinion plus," but also positively, as the ill-fated definitions build upon one another to delineate the elements necessary for a possible theory of judgment. The themes of knowledge (...) and judgment never resolve, yet, through the multiple peirastic beginnings that perish struggling to say something lasting about knowledge, this main theme ties together the dialogue's many subthemes-wisdom and character; sophistry and its relation to philosophy; Socrates' trial; intellectual midwifery, or Socratic dialectic; appearance and reality; Heracliteanism; Eleaticism; forms and participation; unity and plurality; particularity and universality; identity and difference; memory and time; relations; the relation of resemblance. One could go on. The guiding question, how to define knowledge, is a theoretical one, and the reasoning becomes progressively more abstract as the dialogue proceeds, while at the same time never straying far from practical implications: the theoretical conception of knowledge holds consequences made manifest in human action and deliberation. The dialogue about knowledge is also a dialogue about wisdom. (shrink)