Martin Heidegger is one of the most important and influential philosophers of the 20th Century. A major figure in the development of phenomenology, his work also profoundly influenced many of the intellectual movements that followed in his wake, from Sartre's Existentialism to Derrida's deconstructionism. Towards the Definition of Philosophy brings together two seminal lectures that mark a breakthrough moment in Heidegger's thought and introduces the major themes that he would develop in his opus Being and Time.

This allegory is among the most well-traversed passages in Plato's dialogues and deservedly so. Its emotional impact is undeniable, yet it confronts the reader with several problems of interpretation. There is a strong sense that it is of central importance to the crucial questions of the Platonic philosopher's education and his role in society, and it possibly holds one key to an understanding of the Republic as a whole.

As Plato’s Phaedrus 246c stipulates, every logos must be structured like a living being, i.e., the relation of all its parts to one another and to the whole must be appropriate. Thus, the present paper argues that Plato’s masterwork has been organized in accord with the ascent/descent movement as presented in the Allegory of the Cave: Book I represents eikasia, Books II–IV.434c exemplify pistis, Book IV.434d–444e illustrates dianoia and Books V–VII express noesis. Having reached the anabasis the philosopher (...) turns to the consideration of the deficient or unjust forms of the souls and the corresponding political regimes. Finally, the discussion comes back to eikasia through the renewed criticism of mimesis and the exposition of the Myth of Er. As is typical of Plato, this is not merely a formal matter, since the structure conveys that as the Good makes the Ideas intelligible, so the Sun, the Line and the Cave images also throw light on the whole dialogue. (shrink)

This essay aims to shed new light on the stages of moral enlightenment in the Allegory of the Cave, of which there are three. I focus on the two stages within the cave, represented by eikasia and pistis, and provide a phenomenological description of these two mental states. The second part of the essay argues that there is a structural parallelism between the Allegory of the Cave and the ending of the Republic. The parallelism can (...) be convincingly demonstrated by a purely formal analysis, but additionally it complements and reinforces the original interpretation of the Cave, insofar as the ending of the Republic also mirrors, on the level of content, the previously adduced stages of moral enlightenment. (shrink)

ABSTRACT The problem of the captivated gaze has been taken up repeatedly in philosophy. Plato's Allegory of the Cave stands paradigmatically for this. Here, the gaze at the shadowy images prevents people from taking the path to the sun. Denis Diderot's critical reinterpretation of Plato's Allegory of the Cave is less well known. In Diderot, the view of the artificial light images is just as captivating as Plato's shadow images. Unlike there, however, Diderot does not distinguish (...) between perception and cognition but instead focuses on the significance of the seemingly unimportant shift of the gaze within the cave. Diderot determines the starting point of the realisation of freedom in the liberation of one's own gaze from the captivation intended by third parties. Prerequisites for the liberation of the gaze are the realisation of an interruption. It is shifts in the alignment of the eyeballs that become visible here as lucid intervals and which, in Diderot, become the starting point of power analysis and the site of revolt and freedom practice. In this article, I will show how Diderot's demand for enabling the individual realisation of lucid intervals is not first and foremost an aesthetic, but a highly political one. The criteria of art, which are defined by Diderot and have not lost their relevance until today, are based on his explosive insight that the incessant captivation of the gaze stands in the way of democratisation. (shrink)

Abstract: In this paper I claim that Plato’s Cave is fundamentally a political, not an epistemological image, and that only by treating it as such can we appreciate correctly its relation to the images of the Sun and the Line. On the basis of textual evidence, I question the two main assumptions that support (in my view, mistakenly) the effort to find an epistemological parallel between the Cave and the Line: first, that the prisoners represent humankind in general, (...) and, second, that the cave itself represents the visible world of ordinary experience while the world outside the cave represents the realm of the Forms. Disrupting these assumptions opens up a reading that highlights the cultural and political themes at play in this famous allegory and allows us to make better sense of it. -/- Keywords: Plato, Cave, Politics, Culture -/- Resumen: En este ensayo sostengo que la Caverna de Platón es fundamentalmente una alegoría política, no epistemológica, y que solo tratándola como tal, podremos apreciar correctamente la relación que guarda con las imágenes del Sol y de la Línea. Sobre la base de evidencia textual, pongo en duda las dos hipótesis principales sobres las que se funda (a mi parecer, equivocadamente) el esfuerzo por encontrar un paralelo epistemológico entre la Caverna y la Línea: la primera, que los prisioneros representan a la humanidad en general, y la segunda, que la propia caverna representa el mundo visible de la experiencia corriente, mientras que el mundo fuera de la caverna representa el reino de las Ideas. La suspensión de estos supuestos posibilita una lectura que pone de relieve los temas culturales y políticos que están en juego en esta famosa alegoría y nos permite así entenderla mejor. -/- Palabras Clave: Platón, Caverna, Política, Cultura . (shrink)

There is a widespread belief in Philosophy for Children that Plato, the famed Greek thinker who introduced philosophizing to the world as a form of dialogue, was averse to teaching philosophy to young children. Decades of the implementation of P4C program’s inquiry pedagogy have shown conclusively that children are not, in fact, incapable of receiving philosophical training and education. But was Plato wrong? Or has he been largely misunderstood? Does his theory of education show the value of cultivating virtues in (...) the young? This paper attempts to answer these questions by reading the Republic, specifically Plato’s theory of education and the allegory of the cave, as an education manual that can strengthen one’s understanding of the pedagogical approach of P4C and the importance of educating children in wisdom and other intellectual virtues. It demonstrates that the Platonic conception of education is consistent with P4C’s theoretical position of education being transformative, facilitative, and virtue-based. By unpacking the symbolisms and meanings of the cave metaphor, it also discusses effective facilitation, teacher capacity building, and sharing of responsibility in education. Ultimately, drawing from Plato’s theory of education can recalibrate and improve the way one sees the role of education in building caring communities that empower learners and educators for democracy, higher learning, and achievement. (shrink)

The first part of this paper argued that the traditional application of the Cave to the Line was not intended by Plato, and led to a misunderstanding of both similes. The Cave, it was said, is attached to the simile of the Sun and the Line by the visible region outside the cave, which is a reintegration of the symbolism of sun, originals and images in the sunlight, and the new system of objects inside the cave (...) is compared and contrasted with the natural objects in the visible outside. As we know that the natural symbolism illustrates the Platonic education, our main task in this paper will be to find the meaning of the cave, untrammelled by the associations of the lower line. (shrink)

The narrative of Plato’s cave story is loaded with ‘some of the most suggestive opposites in the repertoire, namely the contrasts between down and up, darkness and light, chains and freedom’ (Hrach...

In 1962 I offered an analysis of the Line and Cave which maintained that the four main divisions of each are parallel and interpreted the three stages of ascent in the Cave allegory as representing the three stages in Plato's educational programme: music and gymnastic, mathematics and dialectic. At that time a major portion of my task was to counter arguments which purported to show that the Line and Cave could not be parallel. The present situation (...) is quite different since recent writers, for the most part, not only take the four main divisions of the Cave as parallel to those of the Line, but also accept the restriction of the Cave allegory to moral and mathematical education as a crucial step in the establishing of this fact. This last move, which is clearly in harmony with the form and content of the Republic, enables us to allow for the ordinary unenlightened man to be at the bottom level of the Cave without our having to suggest that he confuses the shadows of visual objects with their originals, which could well be the case if the Cave were taken to represent all sense perception as such. Despite fairly general agreement on these basic points of interpretation there remains, however, a wide divergence of opinion as to the significance of the various levels of education or moral awareness portrayed by the Cave. In keeping with several recent papers on this topic I shall focus my attention on the bottom two stages of this allegory: the state of the prisoners viewing shadows on the cave wall and that of the released prisoners, still in the cave, but turned around and looking at the puppets which cast these shadows. (shrink)

How can stories contribute to ethical education, when they reach people who have already been shaped by many stories, including ethically problematic ones? This question is pursued here by considering Plato’s allegory of the cave, focusing on a reading of it offered by Jonathan Lear. Lear claims that the cave allegory aims to undermine its audience’s inheritance of stories. I question the possibility and desirability of that project, especially in relation to ethical education. Some works of (...) contemporary fiction by Jenny Erpenbeck and J. M. Coetzee are discussed as stories that use more complex strategies for ethically constructive engagement with story-saturated audiences. (shrink)

Shadow Philosophy: Plato’s Cave and Cinema is an accessible and exciting new contribution to film-philosophy, which shows that to take film seriously is also to engage with the fundamental questions of philosophy. Nathan Andersen brings Stanley Kubrick’s film A Clockwork Orange into philosophical conversation with Plato’s Republic , comparing their contributions to themes such as the nature of experience and meaning, the character of justice, the contrast between appearance and reality, the importance of art, and the impact of images. (...) At the heart of the book is a novel account of the analogy between Plato’s allegory of the cave and cinema, developed in conjunction with a provocative interpretation of the most powerful image from A Clockwork Orange , in which the lead character is strapped to a chair and forced to watch violent films. Key features of the book include: a comprehensive bibliography of suggested readings on Plato, on film, on philosophy, and on the philosophy of film a list of suggested films that can be explored following the approach in this book, including brief descriptions of each film, and suggestions regarding its philosophical implications a summary of Plato’s Republic , book by book, highlighting both dramatic context and subject matter. Offering a close reading of the controversial classic film A Clockwork Orange , and an introductory account of the central themes of the philosophical classic The Republic , this book will be of interest to both scholars and students of philosophy and film, as well as to readers of Plato and fans of Stanley Kubrick. (shrink)

As much as reality itself, its reflections and appearances have taken a significant place in philosophical discussions. While Plato's Allegory of the Cave is one of the first of these discussions, the philosophy of the virtual shows the final state of these discussions today. The virtual cave is the modern-day version of Plato's cave. Appearances in Plato's cave have their own mode of existence, and likewise, virtual objects in the virtual cave have their own (...) mode of existence. There are many philosophical similarities between the ancient cave and the virtual cave. So much so that, according to the first, the shadows in the cave are a different view of reality, while according to the second, the virtual images in the virtual cave are another view of reality. The philosophy of the ancient cave and virtual cave essentially point to the debates about what the nature of reality is. The ontological and epistemic dimensions of appearance and virtual image lead us to the discussion about the nature and whatness of reality. The most common and advanced virtual cave today is the metaverse. Metaverse consists of virtual communities that combine the reality of the physical world with the reality of the virtual world and are open to all kinds of manipulations. (shrink)

The idea that mythos and logos are incompatible, and that truth is a product of scientific and dialectical thinking, was certainly disproven by later Platonic philosophers. Deploying the works of Hesiod and Homer, Homeric Hymns and other such literature, they considered myth a valuable and significant augment to philosophical discourse. Plato’s denigration of myth gave his followers an incentive to read myth as allegory. The Stoics and first-century philosophers such as Philo, treated allegory as a legitimate interpretive strategy. (...) The Middle Platonists incorporated myth, for example, deifying the Monad and Dyad, as did 2nd century Platonists. Plutarch’s Isis and Osiris, for example, equates Isis and Osiris with form and matter: the god sows in matter logoi from himself. Porphyry’s allegorizing of Plato’s Cave of the Nymphs is another example. Plotinus is a strong influence on how the late Neoplatonists regarded myth. This paper argues that these philosophers’ use of allegory prepared the way for the Neoplatonists treatment of myth as inspired symbolism. Proclus and Syrianus, as reported by Hermias, did something more extreme by using mythology to construct inspired symbolic argument. Mythos becomes another type of logos, a vehicle for representing the invisible world of being, another kind of truth that can even serve a function in anagogic ascent. (shrink)

Tianyi Zhang offers in this study an innovative philosophical reconstruction of Shihāb al-Dīn al-Suhrawardī's (d. 1191) Illuminationism. Commonly portrayed as either a theosophist or an Avicennian in disguise, Suhrawardīappears here as an original and hardheaded philosopher who adopts mysticism only as a tool of philosophical inquiry. Zhang makes use of Plato's cave allegory to explain Suhrawardī's Illuminationist project. Focusing on three areas-the theory of presential knowledge, the ontological discussion of mental considerations, and Light Metaphysics-Zhang convincingly reveals the Nominalist (...) and Existential nature of Illuminationism, and thereby proposes a new way of understanding how Suhrawardī's central philosophical ideas cohere. (shrink)

The Allegory of the Cave (Pl. Resp. 514a1–520e2) is often analyzed in terms of metaphysical, epistemological, political, and psychic hierarchies that are clarified and reinforced by philosophical education. But the Allegory also contains an important historical allusion to the silver mining that took place in classical Attica. Examining the Cave in light of the enslaved miners around Lavrio leads us to reconsider the philosophical ‘liberation’ (λύσιν … τῶν δεσμῶν, 515c4) at the Allegory’s heart in the (...) context of Athenian slavery and Plato’s thoughts on the practice. Elsewhere in his work Plato generally uses servile metaphors in two ways: to depict ‘bad’ internal psychic subjection and ‘good’ submission to logos as manifested in various entities. This historical dimension of the Allegory works to undermine the ostensible naturalness of the slave/citizen distinction and suggest that philosophical education has the potential to ‘free’ the former and ‘subjugate’ the latter. The implication that these juridical categories are, to an extent, arbitrary and mutable reveals important differences between Plato’s views and those of his classical peers, and it adds to the dialogue’s protreptic dimension for its readers then and now. (shrink)

Neoplatonic allegorical interpretation expounds how literary texts present philosophical ideas in an enigmatic and coded form, offering an alternative path to the divine truths. The Neoplatonist Porphyry’s _On the Cave of the Nymphs_ is one of the most significant allegorical interpretation handed down to us from Antiquity. This monograph, exclusively dedicated to the analysis of _On the Cave of Nymphs_, demonstrates that Porphyry interprets Homer’s verse from Odyssey 13.102-112 to convey his philosophical thoughts, particularly on the material world, (...) relationship between soul and body and the salvation of the soul through the doctrines of Plato and Plotinus. The Homeric cave of the nymphs with two gates is a station where the souls descend into genesis and ascend to the intelligible realm. Porphyry associates Odysseus’ long wanderings with the journey of the soul and its salvation from the irrational to rational through escape from all toils of the material world. (shrink)

Detailed exploration of the Allegory of the Cave, utilizing notions from film studies, may provide us with insight regarding the identity of the puppet masters in Plato's allegory.

We often read Plato’s cave allegory for its trajectory: out of darkness into light. The back of the cave—where imagination projects fantasies onto shadows—is a place to flee. This part of the allegory reduces reality testing to thought or imagining, ignoring action and the people or things engaged. Yet thinkers prominent in our time—Immanuel Kant and W. V. O. Quine—suppose that our experience of the world is that of the cave’s prisoners: we too mistake fantasies (...) for reality. This is an odd stance when practical life and science—beliefs informed by action and experiment—are better tests of reality than their arguments for world‐making. (shrink)

It has been a commonplace, embodied in philosophy curricula the world over, to think of Descartes' philosophy as he seems to present it: as a radical break with the past, as inaugurating a new philosophical problematic centred on epistemology and on a radical dualism of mind and body. In several ways, however, recent scholarship has undermined the simplicity of this picture. It has, for example, shown the considerable degree of literary artifice in Descartes' central works, and thereby brought out the (...) deceptive character of his self-presentation there. In particular, it has revealed the extent of his debts to the Neoplatonist tradition, particularly to Augustine, and of his engagement with the Scholastic commentators of his day. My aim in this paper is to push this interpretative tendency a step further, by bringing out Descartes' indebtedness to Plato. I begin by offering some reminders of the broadly Platonic nature of Cartesian dualism. I then argue that he provides clues sufficient for—and designed to encourage—reading the Meditations on First Philosophy in the light of distinctively Platonic doctrines, and in particular, as a rewriting of the Platonic allegory of the cave for modern times. It will further be argued that some puzzles about the Discourse on the Method can be resolved by recognizing that Descartes there presents himself as a Socratic enquirer after truth. I conclude by drawing attention to some practical benefits that flow from recognizing these linkages. (shrink)

Plato’s Allegory of the Cave is both a staple in the philosopher’s diet and the lesson that is often difficult to digest. In this paper, I describe one way to teach the Sun, Line, and Cave analogies in reference to students’ personal past experiences. After first learning about Plato’s metaphysics and epistemology through reading Republic VI-VII, students are asked to reflect upon a time in their lives when they emerged from a particular “cave of ignorance.” In (...) reflecting on this experience, students are encouraged to consider how each aspect of the line analogy might be represented in their own experience. Students also consider the epistemological experience turning towards that which is more real. In so doing, students gain a deeper understanding of these lessons by connecting new, abstract, and difficult information to information that is so familiar, it is remembered and not merely imagined. Putting Plato’s theories into the context of their own learning experiences facilitates students’ comprehension of the different levels of being and cognition, their interrelation, and the psychological process of increasing understanding. (shrink)

Barnes focuses and examines Plato’s ideals on life through “Allegory of the Cave”. The nature of selfhood, moral/ political issues, and enlightenment demonstrate in any classroom the alternatives to a dry session on philosophy to young children through an engaging discussion.

In Republic, Plato presents a pedagogy whose crucial component is the conversion of the student’s soul. This is clearest in the Allegory of the Cave, where the prisoner begins her liberation by turning herself away from the images on the wall. Conversion is not something we professors typically seek to provoke in a philosophy course, even when we teach Plato. But if this were our goal, what could we do to achieve it within the limits of the modern (...) university? I present one such effort, a paper that uses the Allegory to focus on two questions: who are you, and how did you become that way? After presenting both the prompt and its rationale, I summarize six student submissions and discuss how I evaluated them. I conclude by considering the risks and possibilities of addressing the whole soul and not simply the intellect. (shrink)

Taking Plato’s allegory of the cave as its starting-point, this book demonstrates how later European thinkers can be read as a reaction and a response to key aspects of this allegory and its discourse of enchainment and liberation. Focusing on key thinkers in the tradition of European political thought including Kant, Marx, Hegel, Nietzsche, Heidegger, and the Frankfurt School, it relates them back to such foundational figures as Rousseau, Aristotle, and in particular Plato. All these thinkers are (...) considered in relation to key passages from their major works, accompanied by an explanatory commentary which seeks to follow a conceptual and imagistic thread through the labyrinth of these complex, yet fascinating, texts. This book will appeal in particular to scholars of political theory, philosophy, and German language and culture. (shrink)

This paper examines the intertextual relations between Bertolucci’s film The Conformist and Plato’s allegory of the cave. The importance of interpretation for the Plato’s allegory is emphasized: it is central in the thematic, in its form, and in the way it is communicated. The interpretation of the world is inseparable from self-interpretation. By using elements from Plato’s allegory of the cave, Bertolucci’s film becomes the interpretation of Plato. At the same time, the reality of the (...) film is interpreted in Plato’s terms and images. The concepts of conformism, knowledge and liberation are explored. (shrink)

RESUMEN El propósito de este trabajo es mostrar que Sofista puede leerse como una recreación no-alegórica de la imagen de la caverna expuesta en República VII. Por medio de una lectura en paralelo de sendos textos, buscaremos probar que aquel diálogo tardío recrea sistemáticamente no solo las sucesivas fases del relato socrático, sino también parte de su vocabulario cavernoso, sus gradaciones ontológicas, sus preocupaciones pedagógicas e incluso sus compromisos práctico-políticos. Dicha lectura nos ayudará en dos direcciones: a esclarecer ciertos sentidos (...) oscuros de un relato como el de la alegoría que, en tanto bosquejo, deja muchas cosas sin decir y a leer de forma conjunta una obra como Sofista cuya unidad ha sido puesta en duda, no sin evidenciar dimensiones de la misma soslayadas por los intérpretes. ABSTRACT The purpose of this paper is to show that the Sophist dialogue can be read as a not-allegorical recreation of the cave's image found in Republic VII. Through a parallel reading of both texts, we will try to prove that this late work systematically recreates not only the successive phases of the said Socratic image, but also parts of its vocabulary, its ontological classifications, its pedagogical interests and even its practical and political commitments. This reading will lead us both to clarify some unclear senses of an image such as the Allegory's (that, being an outline, leaves much unsaid) and to read the Sophist dialogue, whose unity has been questioned, as a whole, while evidencing some dimensions of the dialogue overlooked by the interpreters. (shrink)

Plato's texts have been subject to re‐reading in recent years, reflecting new ways in which philosophy has sought to understand the relationship between the author, the reader, and the text. This chapter begins by restating the allegory of the Stanley Cavell in The Republic, before turning to Cavell's reading of this in relation to the opening of the text. It further illustrates the idea of education as a finding of voice, which Cavell articulates through Emersonian moral perfectionism with reference (...) to his work on philosophy as autobiography. The educative relationship to the self and to the other, and the responsibility one takes for one's voice, is then illustrated further by way of Michel Foucault's account of Socratic parrhesia, a practice evident in The Republic and in other texts of Plato to which Foucault refers. Cavell ventures the term sublimation in relation to his questioning of the allegory of the Cave. (shrink)

In this witty and mischievous book, philosopher Peter Cave dissects the most controversial disputes today and uses philosophical argument to reveal that many issues are less straightforward than we'd like to believe. Leaving no sacred cow standing, Cave uses ingenious stories and examples to challenge our most strongly held assumptions. Is democracy inherently a good thing? What is the basis of so-called human rights? Is discrimination always bad? Are we morally obliged to accept refugees? In an age of (...) identity politics and so-called 'fake news', this book is an essential resource for reinvigorating genuine public debate - and an entertaining challenge to accepted wisdom. (shrink)

Many authors have proposed constraining the behaviour of intelligent systems with ‘machine ethics’ to ensure positive social outcomes from the development of such systems. This paper critically analyses the prospects for machine ethics, identifying several inherent limitations. While machine ethics may increase the probability of ethical behaviour in some situations, it cannot guarantee it due to the nature of ethics, the computational limitations of computational agents and the complexity of the world. In addition, machine ethics, even if it were to (...) be ‘solved’ at a technical level, would be insufficient to ensure positive social outcomes from intelligent systems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Language of the CaveA. Serge KapplerThe Language of the Cave, by Andrew Barker and Martin Warner; vi & 198 pp. Edmonton: Academic Printing & Publishing, 1993, $54.95 cloth, $21.95 paper.The scholarly essays in this collection focus on the tension between Plato’s expressed views about style, poetry, and intellectual discourse on the one hand and his own practice on the other. Why does a man fiercely hostile (...) toward [End Page 266] literature and poetry write works that are themselves mimetic? Why does he repeatedly resort to story telling to make a point? Why do some of his works fail to fit his own prescriptions of clarity and unity? Six of the eight essays in this collection propose exonerating answers to these and similarly troubling questions.In stimulating counterpoint to this massive rescue operation, John Gould (“Plato and Performance”) argues that Plato’s attack on the irrationality of Greek literature and poetry has irrational roots in Plato himself. The reality defined by literary art, Gould suggests, is one of contradiction and conflict; its “incorrigible plurality”—the “drunkenness” of things as they are—is something that “Plato, at least in the puritanical mood of the Republic and the Phaedo, would not have wished to feel” (p. 25).Gould bases his contentions largely on a negative assessment of Plato’s arguments in the Republic. For him, the poverty and fierceness of those arguments strongly suggest an existential agenda at work. Implicitly supportive of this position, Penelope Murray (“Inspiration and Mimesis in Plato”) shows that the picture Plato paints of poets in the grip of irrational frenzy, in the Republic and elsewhere, far from being the traditional truth he purports it to be, is his own creation. It is a “far cry,” she convincingly argues, from the images of the poet that we find in pre-Platonic literature” (p. 46).The most original defense of Plato is offered by Mary Margaret McCabe in “Myth, Allegory and Argument in Plato.” She proposes that logical arguments in Plato’s text stand in a dialectical relation to stories and allegories elsewhere in the text. Mere logic presents too lean a picture of reality, while myths and allegories present one that is, from an Ockhamite perspective, too rich. The responsibility for finding the right theoretical balance lies with the reader.Now were it true that Plato’s famous images have no genuine heuristic value in the contexts in which they are offered, then McCabe’s thesis might be in some trouble. Yet that is precisely the claim of Manuela Teçusan (“Speaking about the Unspeakable: Plato’s Use of Imagery”), who reassures readers that because Plato resorts to poetic devices primarily in order to illustrate conclusions that are independently supported, he is not really guilty of an inconsistency needing to be explained away.If Plato’s complaints against literature are typically understood as presupposing extravagant metaphysical theses of his own, one possibility is to show that he is not actually committed to those theses. Christopher Rowe (“Reflections of the Sun: Explanation in the Phaedo”) and Michael Stokes (“Plato and the Sightlovers of the Republic”) weigh in with carefully argued versions of that time-honored project. Rowe can discover no reference in the Phaedo to the unhypothesized Good of the Republic, while Stokes discerns no genuine Platonic commitment to a two-world theory in Republic 5.Finally, Richard Rutherford (“Unifying the Protagoras”) diagnoses that dialogue’s notorious lack of unity as reflecting the disorganized minds and unsocratically competitive impulses of its Sophist participants, and Martin [End Page 267] Warner (“Dialectical Drama: The Case of Plato’s Symposium”) proposes that, appearances to the contrary notwithstanding, all of the Symposium displays both substance and unity.Reading these well-researched, engaging essays, one may find oneself wishing that their authors would occasionally wonder aloud whether Plato had any choice but to express himself through the poetic/dramatic medium which he criticizes. Perhaps he could have invented the straightforward philosophical prose style, but perhaps he was too busy building its conceptual and cultural foundations.A. Serge KapplerSkidmore CollegeCopyright © 1996 The Johns Hopkins University Press... (shrink)

This paper examines the UK’s response to a recent European Clinical Trials Directive, namely the Department of Health, Central Office for Research Ethics Committee guidance, Governance Arrangements for NHS Research Ethics Committees. The revisions have been long awaited by researchers and research ethics committee members alike. They substantially reform the ethical review system in the UK. We examine the new arrangements and argue that though they go a long way toward addressing the uncertainty surrounding ethics committee function, the system favours (...) the facilitation of research over the protection of the dignity and welfare of research participants. (shrink)

In his short life, Alan Turing (1912-1954) made foundational contributions to philosophy, mathematics, biology, artificial intelligence, and computer science. He, as much as anyone, invented and showed how to program the digital electronic computer. From September, 1939, his work on computation was war-driven and brutally practical. He developed high speed computing devices needed to decipher German Enigma Machine messages to and from U-boats, countering the most serious threat by far to Britain..

Researchers have frequently complained that the NHS ethical review system stifles good research. At last measures are being put in place to address this criticism, but will they undermine the protection of research participants? The Declaration of Helsinki recognizes that medicine will not progress without good quality research, but also demands that the well-being of research participants takes precedence over the interests of science and society. This article examines the implications of the ongoing reform of the NHS research ethics review (...) system for researchers, ethics committees and research participants. (shrink)

The shift to a market economy in post-communist Eastern Europe has had a profound impact on science and scientists across the region, leading to reforms in research management practices and to drastic cuts in funding levels everywhere. Many countries are moving to a system of competitive research grants awarded on the basis of peer review. The introduction of peer review is not simply a technical matter. It signifies a fundamental change in the social structure of science, enhancing profession-al autonomy and (...) giving working scientists a voice in the allocation of resources. This book combines first-hand accounts of the reform process with analyses of the strengths and weaknesses of both peer review and quantitative indicators. (shrink)

This paper focuses on the fact that AI is predominantly portrayed as white—in colour, ethnicity, or both. We first illustrate the prevalent Whiteness of real and imagined intelligent machines in four categories: humanoid robots, chatbots and virtual assistants, stock images of AI, and portrayals of AI in film and television. We then offer three interpretations of the Whiteness of AI, drawing on critical race theory, particularly the idea of the White racial frame. First, we examine the extent to which this (...) Whiteness might simply reflect the predominantly White milieus from which these artefacts arise. Second, we argue that to imagine machines that are intelligent, professional, or powerful is to imagine White machines because the White racial frame ascribes these attributes predominantly to White people. Third, we argue that AI racialised as White allows for a full erasure of people of colour from the White utopian imaginary. Finally, we examine potential consequences of the racialisation of AI, arguing it could exacerbate bias and misdirect concern. (shrink)