This new study challenges traditional ways of reading Plato by showing that his philosophy and political theory cannot be understood apart from a consideration of the literary or aesthetic features of his writing. More specifically, it shows how Plato’s well-known cosmological dialogues—the _Phaedrus, Timaeus, _and _Critias_—are structured using several books of the _Odyssey _as their shared source text. While there has recently been much scholarly discussion of the relation between poetry and philosophy in Plato’s dialogues, little of it addresses questions (...) central to thoroughgoing literary criticism. Planinc’s work is unique in that it shows the significance of Plato’s extensive refiguring of key episodes in the _Odyssey_ for an interpretation of his political philosophy. Plato’s cosmological dialogues are almost always discussed topically. The _Timaeus _is picked through for its theological or scientific doctrines; the _Critias _is reduced to its Atlantis story, or puzzled over because of its ostensible incompleteness; and the _Phaedrus_ is read for its parallels to modern understandings of erotics or rhetoric. The dialogues are not usually considered in relation to one another, and then only in the context of developmental schemes primarily concerned with distinguishing periods in Plato’s metaphysical doctrines. Planinc argues that the main literary features of the _Phaedrus,_ _Timaeus,_ and _Critias _are taken from books 6 to 9 of the _Odyssey,_ the largest part of the story of Odysseus’s stay with the Phaeacians, from the time he swims to shore and encounters Nausicaa to the time he reveals his identity and begins recounting his earlier travels after hearing Demodocus’s songs. By exploring the full range of the many charming and intriguing things the dialogues present in this literary context, he shows that they are a coherent, unified part of Plato’s corpus. _Plato through Homer_ takes a radically new approach to Plato’s texts that illuminates their literary and philosophic significance and highlights their enduring appeal. (shrink)

The notion of a harmonious universe was taught by Pythagoras as early as the sixth century BC, and remained a basic premise in Western philosophy, science, and art almost to our own day. In Touches of Sweet Harmony, S. K. Heninger first recounts the legendary life of Pythagoras, describes his school at Croton, and discusses the materials from which the Renaissance drew its information about Pythagorean doctrine. The second section of the book reconstructs the many facets of this doctrine, and (...) the final section shows its influence on Renaissance poetics. Professor Heninger's magisterial work introduces the reader not only to Pythagoras but to a host of other classical, medieval, and Renaissance figures as well--from Plato and Aristotle through St. Augustine and Macrobius down to Sidney and Spenser. (shrink)

Nasir-i Khusraw is a major literary figure in medieval Persian culture. He was a Muslim philosopher, poet, travel writer, and Ismaili da'i who lived a thousand years ago in the lands known today as Afghanistan, Iran, and Tajikistan. Although known in the West mainly for his Safarnama, or travelogue, which describes his seven-year journey from Khurasan, in the eastern Islamic lands, to Cairo, the city of the Fatimid imam-caliphs, his poetry and ideas are less familiar. Yet, over the centuries, Persian-speaking (...) lands have consistently ranked him as one of the finest poets of all time. But today, even among those who know Nasir-i Khusraw's poetry, few understand the philosophical and Ismaili concepts the poet expounds. And while mystical and epic genres of Persian poetry are memorized and studied, the genre of philosophical poetry in Persian remains basically unexplored. This collection of studies seeks to redress the balance. Originally presented at a conference at the School of Oriental and African Studies (SOAS), University of London in 2005 to commemorate the millenary of Nasir-i Khusraw's birth, the papers published here examine his poetry both for philosophical meaning and poetic method. They address a variety of topics, ranging from metaphysics, cosmology, and ontology to prophecy, as well as rhythm and structure, and analysis of individual poems and authorship. (shrink)

The paper is the first of two to be published in Cognitio which explore the hypothesis that the thought of Ralph Waldo Emerson (1803- 1882), brilliantly expounded in the generation before Charles Sanders Peirce (1839-1914), anticipated, if not provided the direct provenance of, Peirce’s mature metaphysical ideas. The papers provide running commentaries on Emerson’s later-phase essays, “Poetry and Imagination” (1854, published in 1876) and “The Natural History of Intellect” (1870). “Poetry and Imagination” is shown to contain the seeds of Peirce’s (...) objective idealism — namely, that “matter is effete mind,” or “mind hide-bound with habits,” — set within an evolutionary cosmology that grounds the human mind’s connaturality or affinity with the laws of nature, a doctrine subtending his abductory logic of scientific discovery. Mutatis mutandis, all these components were already present in Emerson’s essay. Peirce spoke of his “buddhisto-christian religion,” which was another name for Emersonian cosmosemiosis. His originality consisted in applying Emerson’s emphasis on the poetic to the scientific imagination, though the seeds of the latter are present in Emerson’s “The Natural History of Intellect” and other essays as well. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Guided Rapid Unconscious Reconfiguration in Poetry and ArtRoger SeamonThe idea that literary works are designed to give pleasure does not get much exercise these days. So I would like to take it out for a walk. We’ll see where it takes us, how much ground it covers, and what friends it makes along the way. Perhaps if we take it off the leash of theory, it will roam far (...) enough afield.... By this time you are bored with my metaphor, and thus have made a judgment about the use of a trope that is often said to be at the heart of poetry. 1 What I want to do is give an account of the principle that led to that judgment, for it is the same principle, I shall argue, that governs judgments about the aesthetic dimension of literary works.I first encountered the idea in F. W. Bateson’s English Poetry: An Introduction, where he labels it the “The Principle of the Semantic Gap.” Poetry, Bateson says, does not consist of the transference of feeling from poet to reader (the Romantic and expressive view which he opposes), but of “the successful collocation of contrasted or conflicting ‘meanings,’” 2 and he traces the theory back to Coleridge’s idea that poetry consists in the “balance or reconciliation of opposite or discordant qualities” (Biographia Literaria, chap. xiv). Contrasted meanings defeat normal expectations, so the reader is forced to bridge (apparent) gaps in order to make sense of the words, and it is that collaboration between author and reader that constitutes poetic activity. The theory is, though Bateson does not present it as such, a reworking of the ancient notion that in a successful work of art we perceive unity in variety. This essay is an effort to extend and defend that theory in its modern form, particularly as it relates to literary works.The modern theory came into being because of a change in the [End Page 412] object of aesthetic analysis from the work and what it imitated to the psychology of the audience:Up to the eighteenth century the theory of art in the Western world was dominated by ancient philosophy. It was most of all Plato’s metaphysics which, in a number of variations and even distortions, attributed to the artist the capacity of perceiving the divine ideals of beauty beyond the world of the senses and embodying them in his creations. The rejection of this mystical view of art in the course of the eighteenth century... was bound to make theorists turn to psychology. 3It is within this psychological tradition that the modern version of unity and variety has been developed.Re-castings of the ancient formula for aesthetic value have been done by (at least) five recent theorists. Given that one can probably trace the twentieth-century revival back to Gestalt psychology, it is not surprising that the earliest of the four is Rudolph Arnheim. In an essay on “Order and Complexity in Landscape Design” he defines order as “the degree and kind of lawfulness governing the relations among the parts of an entity,” and complexity as “the multiplicity of the relationships among the parts of an entity.” 4 Arnheim then psychologizes (rather than “cosmologizes”) these concepts by grounding them in the propensity to be perceptually satisfied by a balance between the two: “Complexity without order produces confusion; order without complexity produces boredom” (p. 124). Similarly, in The Act of Reading Wolfgang Iser says:The reader’s enjoyment begins when he himself becomes productive, i.e., when the text allows him to bring his own faculties into play. There are, of course, limits to the reader’s willingness to participate, and these will be exceeded if the text makes things too clear or, on the other hand, too obscure: boredom and overstrain represent the two poles of tolerance, and in either case the reader is likely to opt out of the game. 5In the same vein, Francis Sparshott asserts in The Theory of the Arts that “Beauty occupies the ground between cliché and chaos,” with variety protecting against the former, unity protecting against the latter, 6 and in The Sense of... (shrink)

Here Ovid treats the demiurge's disposition of weightless aether over the other elements. This section of the cosmogony follows one that is devoted to the sphere of aer where the creator settles the turbulent winds and other threatening meteorological phenomena. Recently Denis Feeney has suggested that Ovid's demiurge ‘does not act in a very epic manner’ by placing weightless aether on top of the winds. He argues: ‘The oddness of the control is caught in a moment of comparison with Vergil's (...) universe: Vergil's Jupiter controls the winds by putting on top of them a mass of mountains, while Ovid's mundi fabricator places above them the aether, explicitly “liquid and lacking weight, containing nothing of earthly sediment” ’. Feeney's observation has much to recommend it. To begin with, Ovid's excursus on the cardinal winds evokes Vergil's set piece on the cave of Aeolus in Aeneid l. And the demiurge's subsequent placement of aether seems to echo the action of the Vergilian Jupiter. However, Feeney's conclusion that the demiurge's action is ‘redolent of anti-epic allegiances’ needs some adjustment.4 For his reading neglects an important verbal and structural allusion to the cosmogony of Lucretius . Accordingly, the conclusion to be drawn from lines 67–8 may be, not that Ovid momentarily reveals his Callimachean colours in an epic context, but that he plays Lucretius off against Vergil and so establishes his own position in the epic tradition of cosmological poetry. (shrink)

`Therefore this terror and darkness of the mind Not by the sun's rays, nor the bright shafts of day, Must be dispersed, as is most necessary, But by the face of nature and her laws.' Lucretius' poem On the Nature of the Universe combines a scientific and philosophical treatise with some of the greatest poetry ever written. With intense moral fervour Lucretius demonstrates to humanity that in death there is nothing to fear since the soul is mortal, and the world (...) and everything in it is governed not by the gods, but by the mechanical laws of nature. By believing this, men can live in peace of mind and happiness. Lucretius bases his argument on the atomic theory expounded by the Greek philosopher Epicurus. His poem explores sensation, sex, cosmology, meteorology, and geology through acute observation of the beauties of the natural world and with moving sympathy for man's place in it. Sir Ronald Melville's accessible and accurate verse translation is complemented by an introduction and notes situating Lucretius' scientific theories within the thought of 1st century BCE Rome and discussing the Epicurean philosophy that was his inspiration and why the issues Lucretius' poem raisies about the scientific and poetical views of the world continue to be important. (shrink)

This volume contains essays by some of the leading scholars in the study of the Jewish religious ideas in the Second Temple period, that led up to the development of early forms of Rabbinic Judaism and Christianity. Close attention is paid to the cosmological ideas to be found in the Ancient Near East and in the Hebrew Bible and to the manner in which the translators of the Hebrew Bible into Greek reflected the creativity with which Judaism engaged Hellenistic ideas (...) about the cosmos and the creation. The concepts of heaven and divine power, human mortality, the forces of nature, combat myths, and the philosophy of wisdom, as they occur in 2 Maccabees, Ben Sira, Wisdom of Solomon and Tobit, are carefully analysed and compared with Greek and Roman world-views. There are also critical examinations of Dead Sea scroll texts, early Jewish prayers and Hebrew liturgical poetry and how they these adopt, adapt and alter earlier ideas. The editors have included appreciations of two major figures who played important roles in the study of the Second Temple period and in the history and development of the ISDCL, namely, Otto Kaiser and Alexander Di Lella, who died recently and are greatly missed by those in the field."--Provided by publisher. (shrink)

Unifying the Universe: The Physics of Heaven and Earth presents a non-technical approach to physics for the lay-science enthusiast. This popular textbook, which evolved from a conceptual course at Cornell University, is intended for non-science undergraduate students taking their first physics module. This second edition maintains its unique approach in crossing boundaries between physics and humanities, with connections to art, poetry, history, and philosophy. It explores how the process of scientific thought is inextricably linked with cultural, creative, and aesthetic aspects (...) of human endeavor, opening the readers up to new ways of looking at the world. The text has been fully updated throughout to address current and exciting new topics in the field, such as exo-planets, the accelerating Universe, dark matter, dark energy, gravitational waves, super-symmetry, string theory, big bang cosmology, and the Higgs boson. There is also an entirely new chapter on the Quantum World, which connects the fascinating topics of quantum entanglement and quantum computing. Key Features: Provides a solid, yet accessible, background to basic physics without complex mathematics Uses a human interest approach to show how science is significant for more than its technological consequences Discusses the arts and philosophies of historical periods that are pertinent to the subject. (shrink)

Did Newton "unweave the rainbow" by reducing it to its prismatic colors, as Keats contended? Did he, in other words, diminish beauty? Far from it, says Dawkins--Newton's unweaving is the key too much of modern astronomy and to the breathtaking poetry of modern cosmology. Mysteries don't lose their poetry because they are solved: the solution often is more beautiful than the puzzle, uncovering deeper mystery. (The Keats who spoke of "unweaving the rainbow" was a very young man, Dawkins reminds (...) us.) With the wit, insight, and spellbinding prose that have made his books worldwide bestsellers, Dawkins addresses the most important and compelling topics in modern science, from astronomy and genetics to language and virtual reality, and combines them in a landmark statement of the human appetite for wonder. This is the book that Richard Dawkins was meant to write: a brilliant assessment of what science is (and what it isn't), a tribute to science "not because it is useful (though it is), but but because it is uplifting, in the same way as the best poetry is uplifting.". (shrink)

This book begins with the question 'Who am I?' and immediately sets off in an astonishingly original direction. Why didn't anyone before Harding think of responding to this question like this? It's so obvious, once you see it. Harding presents a new vision of our place in the universe that uses the scientific method of looking to see what is true. It turns out that the truth about ourselves is not only true but also very good, and breathtakingly beautiful. We (...) live in a sacred, many-layered, living universe - or rather it lives in us. Though it was completed in 1950, this book is still ahead of its time. One day it will surely be widely recognised for its greatness: its all-encompassing vision, its originality and freshness, its depth of insight, its wide-ranging knowledge, the clarity and poetry of its language, its humanity. It is a world-view not dependent on local culture or religion, but on universally verifiable facts. It is also a world-view that respects our manifest differences whilst celebrating our underlying unity - the unity not just of oneself with other people but with all of life, indeed with the whole universe. Harding died in 2007 aged 97, leaving behind him an impressive body of work. He was a highly creative person who was passionate about - he was in love with - this living universe and the immortal treasure that abides at its centre - at our centre. "A work of the highest genius." C. S. Lewis. (shrink)

In chapters 12-18 of "Against Proclus," Philoponus continues to do battle against Proclus' arguments for the beginninglessness and everlastingness of the ordered universe. In this final section there are three notable issues under discussion. The first concerns the composition of the heavens and its manner of movement. Philoponus argues against the Aristotelian thesis that there is a fifth heavenly body that has a natural circular motion. He concludes that even though the celestial region is composed of fire and the other (...) three elements, it can move in a circle by the agency of its soul, and that this circular motion is not compromised in any way by the innate natural motion of the fire. Chapter 16 contains an extended discussion of the will of God and His relation to particulars. Here Philoponus addresses issues that become central to medieval philosophical and theological discussions, including the unity, timelessness and indivisibility of God's will. Finally, throughout these seven chapters Philoponus is engaged in a detailed exegesis of Plato's Timaeus which aims to settle a number of familiar interpretive problems, notably how we should properly understand the pre-cosmic state of disorderly motion, and the statement that the visible cosmos is an image of the paradigm. Philoponus' exegetical concerns culminate in chapter 18 with an extensive discussion of Plato's attitude to poetry and myth. (shrink)

In this book, Aleksandr V. Bezgodov and Konstantin V. Barezhev formulate planetary ethics--the most important part of the philosophy of the Planetary Project. Planetary ethics represent the moral basis and value code for building a biocompatible, harmonious, and manageable civilization. They analyze the moral and ethical views of those Russian cosmists who belonged to the natural science branch of this unique philosophical, scientific, and cultural phenomenon. Looking at the world through the prism of a planetary-cosmic consciousness, cosmists developed a system (...) of biocentric and humanistic values.Russian cosmism is a spiritual rebellion of life against chaos, death, and limitation. A combination of science, philosophy, poetry, and a certain utopianism extended on a universal scale makes Russian cosmism a prologue to the modern nonclassical, science-based worldview that emphasizes synergy and globalism. Back in the late nineteenth to early twentieth century, cosmists focused on a united humanity and the principles of a close relationship between man and the universe. This monograph lays the groundwork for the planetary ethics that originated in the philosophy of Russian cosmism. The monograph continues the series of books of the Planetary Project, Planetary Project: From Sustainable Development to Managed Harmony and Planetary Rent as an Instrument for Solving Global Problems. (shrink)

This book begins with the question 'Who am I?' and immediately sets off in an astonishingly original direction. Why didn't anyone before Harding think of responding to this question like this? It's so obvious, once you see it. Harding presents a new vision of our place in the universe that uses the scientific method of looking to see what is true. It turns out that the truth about ourselves is not only true but also very good, and breathtakingly beautiful. We (...) live in a sacred, many-layered, living universe - or rather it lives in us. Though it was completed in 1950, this book is still ahead of its time. One day it will surely be widely recognised for its greatness: its all-encompassing vision, its originality and freshness, its depth of insight, its wide-ranging knowledge, the clarity and poetry of its language, its humanity. It is a world-view not dependent on local culture or religion, but on universally verifiable facts. It is also a world-view that respects our manifest differences whilst celebrating our underlying unity - the unity not just of oneself with other people but with all of life, indeed with the whole universe. Harding died in 2007 aged 97, leaving behind him an impressive body of work. He was a highly creative person who was passionate about - he was in love with - this living universe and the immortal treasure that abides at its centre - at our centre. "A work of the highest genius." C. S. Lewis. (shrink)

This article studies Paul Valéry's personal reflection on photography, as it appears in his essay ?Le Discours du Centenaire de la Photographie,? based on a speech given at the Sorbonne in 1939 to members of the French Academy. It stresses the relationship between this essay and the French poet's writings on painting and aesthetics, in particular his work on Corot. Moreover, it analyzes the synthetic character of Valéry's critical approach, which attempts to bring together the language of poetry, philosophy and (...) science when dealing with this utterly modern visual language. Photography is celebrated here as a unique art form that can at the same time imitate and reproduce nature perfectly, while allowing mankind to create a cosmological vision of life and the universe. In other words, the poet underlines in this text the utmost modernity of photography, at a time when many in France were still reluctant to acknowledge its artistic identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:On Dante, Hyperspheres, and the Curvature of the Medieval CosmosWilliam EggintonIn the course of his lectures on medieval literature at Oxford University in the 1950s C. S. Lewis would ask students to walk alone at night, gaze at the star-filled sky, and try to imagine how it might look to a walker in the Middle Ages. It would not likely have occurred to him that some forty years later (...) several astrophysicists would ask that their readers perform the same activity, at least figuratively—not, however, with the intention of experiencing medieval conceptions of the cosmos but rather in order to begin to imagine the shape of our own. One of the astrophysicists in question is Stanford Professor Emeritus Robert Osserman, whose 1995 book The Poetry of the Universe is an attempt to acquaint lay readers with what the most recent research suggests is the shape of the universe by leading them through a brief history of the mathematical and technological developments that made such boundary-breaking thought possible. Paradoxically, when it comes to trying to imagine that all-encompassing form which is derived from a four-dimensional mathematical model called a hypersphere, he turns not to ultra-modern computer-generated images nor to dry but technically accurate exegeses of mathematical formulae but rather to the verses of a fourteenth-century Italian poet, Dante Alighieri. His claim is that in the third canticle of the Divine Comedy, which details his ascent through the heavens, Dante describes the cosmos with astonishing precision as a hypersphere, exactly as modern physics has determined it to be.If the cosmology of the present makes use of Dante heuristically, however, it never asks the most obvious question: Why? Why does one need to go back to the fourteenth century for a poetic description of how the universe appears to modern science? Osserman assumes it to be a mere coincidence, and why should he not? What possible access would a thinker—a poet even—of the European Middle Ages have to the highest achievements of almost six centuries of subsequent thought? In answering this question, I am not proposing to naively interpret the past in our own image, claiming Dante to be a mathematical genius [End Page 195] before his time. I am, however, suggesting that there is an excellent explanation for why one must look to the fourteenth century for models of expression adequate to the challenges posed by nineteenth and twentieth-century advances in mathematics: namely, that in the course of the Scientific Revolution, wherein were laid the epistemological foundations for the discoveries of modern science, certain possibilities of thought and imagination were discarded, forgotten, and certain abilities were, if only temporarily, lost. The Middle Ages has long been painted as a period whose culture was hostile to free thought and new knowledge; perhaps it is now time to recognize that it was also a time in which phenomena could sustain mutually exclusive and contradictory explanations, when the battle between faith and science had not yet been conclusively won by either side, and when the efforts to bridge the stories they told could produce conceptual edifices whose mere possibility would be unthinkable only 200 years later. This essay is about one such conceptual edifice and how openness to its perspective allowed a poet to put into words what could not be imagined by his descendants, and what eludes us even today.The Shape of the Modern UniverseImagine that you are a completely flat creature, living happily in your two-dimensional world.1 As observers we are outside this world, and we can see you milling about with your flat friends, blissfully unaware of the uncharted regions one dimension away on either side of you. Now imagine that this plane is not flat—in the sense of rectilineal—as you might have created it in your mind, but rather is curved; in fact it is a sphere. Assuming that this sphere is large enough, there is no reason that you, an inhabitant of this surface, should be aware of its curvature. Even we, the three-dimensional observers, if close enough to the surface, would not recognize its curvature. One could conjecture, however... (shrink)

The other Hölderlin, an unheroic, unprophetic, un-German, in a word: a poor Hölderlin, might have played an essential role in the development of Eugen Fink’s experienceable ontology as an/other form of idealism. Understood cosmologically as a “quarrel” or “game” between heaven and earth, it is designed to realize Husserl’s term “Weltbewusstseinsleben” as illustrated by Fink’s remark: “Coexistence in cognition is at the same time a testimony to the heavenly spirit.” Thus, a twofold question arises: If, in cognition, coexistence is at (...) the same time a testimony to the heavenly spirit, what is it outside of cognition, if anything? And how does it come to cognition? Reading Fink and Hölderlin together, I suggest the following answers: 1. In cognition, coexistence is at the same time a testimony to the “heavenly”, that is to say: higher, i.e. communal spirit, precisely because 2. it is nothing outside of cognition–nothing but the cosmological laceration of man, the openness of human beings to the world, about which 3. nothing more can be said than that it has always already been there for us to know, for it is being brought to our cognition time and again: through poetry. (shrink)

This contribution examines the relationship between human beings and landscape in selected medieval texts. Literary concepts of landscape appear innately bound up with human experiences that lend expression to religious, political and aesthetic convictions. The religious appropriations of landscape revolve around cosmological ideas for or against life in this world in political contexts, landscape functions as a medium of power for the legitimisation of rule, or as an apocalyptic backdrop. Courtly poetry exploits certain details of landscape to symbolise the status (...) of individuals in society or the condition of society itself. In accounts of pilgrimage, the sense of landscape is reduced to a consideration of the accessibility of holy sites and the measurable distance of the journey. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.4 (2005) 483-484 [Access article in PDF] Société d'études platoniciennes. Études Platoniciennes. Vol. 1, Annuaire européen d'études platoniciennes. Edited by Luc Brisson and Jean-François Pradeau. Paris: Les Belles Lettres, 2004. Pp. 348, e 35,00. This is the first volume in what is projected to be an annual series published under the auspices of the Société d'études platoniciennes, with sponsorship in France, italy, and (...) Spain. The introductory editorial note by Jean-François Pradeau (7) states the Society's intention for the series to publish in five languages (German, English, Spanish, French, and italian), sometimes on a particular theme or particular work, but always to contribute to the knowledge of Plato's works and the Platonic tradition. Here one can only briefly indicate the range of contents of this first volume.There are three parts. The first, entitled "Platon," includes six articles on Plato. Anne Merker, "Corps et châtiment chez Platon" (11–50), reviews relevant sections of Gorgias, Timaeus, and Laws and argues that, in fact, the body has most significantly both a semantic and a cosmological function in Plato's view. Klaus Schöpsdau, "Richten und Strafen. Zum Strafrecht in Platons Nomoi" (51–72), offers a more general explanation of judgment and punishment in Plato and thus might more usefully have preceded Merkur's article. For Francisco Lisi, "El mito del Politico" (73–90), the myth, perhaps paradoxically, turns out to reveal Plato as a philosopher of history. Francesco Gregorio, elements pour une métacritique de l'interprétation de la République de Platon" (91–112) examines in detail the reading of Plato's text that can be extrapolated from Aristotle's criticisms of it. Among the surprises, he finds an Aristotelian irony which he considers a sure sign that Aristotle [End Page 483] read Plato well (111). Walter Leszl's long article, "Plato's Attitude to poetry and the fine arts, and the origins of aesthetics" (113–98), is, in fact, only part i of a longer discussion, the second part of which will appear in volume ii of this series (asterisked note to 199) in which he tries to replace Kristeller's view that the system of "fine arts" is a distinctively modern idea and hence absent in ancient authors. The weakness of the case as stated thus far is that Leszl fails to recognize the important distinction between concepts explicitly articulated and those which later scholars find "implied" by what ancients "must have" thought and confirmed by certain "traces" in what they write. Like Leszl's article, Francesco Bearzi's "il contesto noetico del Simposio" (199–251) is part of a much longer connected study of the four passages—Diotima's speech in the Symposium, Republic, excursus in Seventh Letter, and Phaedrus 247–50—in which intellectual intuition is treated. Despite its seemingly mysterious language, he sees the view presented as rigorously rational.The second part, "Tradition platonicienne," contains only two articles, and thus is not in balance with part one. Francesco Fronterotta's "La genèse et la succession des réalités atemporelles. Un argument paradoxal chez Plotin (Ennéades V 1 [10] 6, 19–22)" (255–70) finds that Plotinus's argument leads to the paradoxical conclusion, reminiscent of certain conclusions in the Parmenides, that a truly atemporal reality could be neither thought nor spoken. in "La doctrine des degrés de vertus chez les néo-platoniciens. Une analyse de la Sentence 32 de Porphyre, de ses antecedents et de ses consequences" (271–86), Luc Brisson introduces the views of virtue in Plato, Aristotle, and the Stoics, before expounding the four types in Porphyry, who, he claims, first makes possible the idea of degrees of virtue, and looking briefly at some later Neoplatonic formulations.The third part, "Notes et lectures critiques," includes a review article by Francisco Fronterrota, "L'unità del Platonismo : Alcuni studi sulla tradizione medioplatonica e neoplatonica" (289–98) and a "Bibliographie des études... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.4 (2005) 483-484 [Access article in PDF] Société d'études platoniciennes. Études Platoniciennes. Vol. 1, Annuaire européen d'études platoniciennes. Edited by Luc Brisson and Jean-François Pradeau. Paris: Les Belles Lettres, 2004. Pp. 348, e 35,00. This is the first volume in what is projected to be an annual series published under the auspices of the Société d'études platoniciennes, with sponsorship in France, italy, and (...) Spain. The introductory editorial note by Jean-François Pradeau (7) states the Society's intention for the series to publish in five languages (German, English, Spanish, French, and italian), sometimes on a particular theme or particular work, but always to contribute to the knowledge of Plato's works and the Platonic tradition. Here one can only briefly indicate the range of contents of this first volume.There are three parts. The first, entitled "Platon," includes six articles on Plato. Anne Merker, "Corps et châtiment chez Platon" (11–50), reviews relevant sections of Gorgias, Timaeus, and Laws and argues that, in fact, the body has most significantly both a semantic and a cosmological function in Plato's view. Klaus Schöpsdau, "Richten und Strafen. Zum Strafrecht in Platons Nomoi" (51–72), offers a more general explanation of judgment and punishment in Plato and thus might more usefully have preceded Merkur's article. For Francisco Lisi, "El mito del Politico" (73–90), the myth, perhaps paradoxically, turns out to reveal Plato as a philosopher of history. Francesco Gregorio, elements pour une métacritique de l'interprétation de la République de Platon" (91–112) examines in detail the reading of Plato's text that can be extrapolated from Aristotle's criticisms of it. Among the surprises, he finds an Aristotelian irony which he considers a sure sign that Aristotle [End Page 483] read Plato well (111). Walter Leszl's long article, "Plato's Attitude to poetry and the fine arts, and the origins of aesthetics" (113–98), is, in fact, only part i of a longer discussion, the second part of which will appear in volume ii of this series (asterisked note to 199) in which he tries to replace Kristeller's view that the system of "fine arts" is a distinctively modern idea and hence absent in ancient authors. The weakness of the case as stated thus far is that Leszl fails to recognize the important distinction between concepts explicitly articulated and those which later scholars find "implied" by what ancients "must have" thought and confirmed by certain "traces" in what they write. Like Leszl's article, Francesco Bearzi's "il contesto noetico del Simposio" (199–251) is part of a much longer connected study of the four passages—Diotima's speech in the Symposium, Republic, excursus in Seventh Letter, and Phaedrus 247–50—in which intellectual intuition is treated. Despite its seemingly mysterious language, he sees the view presented as rigorously rational.The second part, "Tradition platonicienne," contains only two articles, and thus is not in balance with part one. Francesco Fronterotta's "La genèse et la succession des réalités atemporelles. Un argument paradoxal chez Plotin (Ennéades V 1 [10] 6, 19–22)" (255–70) finds that Plotinus's argument leads to the paradoxical conclusion, reminiscent of certain conclusions in the Parmenides, that a truly atemporal reality could be neither thought nor spoken. in "La doctrine des degrés de vertus chez les néo-platoniciens. Une analyse de la Sentence 32 de Porphyre, de ses antecedents et de ses consequences" (271–86), Luc Brisson introduces the views of virtue in Plato, Aristotle, and the Stoics, before expounding the four types in Porphyry, who, he claims, first makes possible the idea of degrees of virtue, and looking briefly at some later Neoplatonic formulations.The third part, "Notes et lectures critiques," includes a review article by Francisco Fronterrota, "L'unità del Platonismo : Alcuni studi sulla tradizione medioplatonica e neoplatonica" (289–98) and a "Bibliographie des études... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.1 (2000) 59-74 [Access article in PDF] Francesco Patrizi in the "Time-Sack": History and Rhetorical Philosophy * Paul Richard Blum Contemporary theory of history is much concerned with the narrative structure of history, its nature, and its epistemic status. 1 The problem is not only that sources present events mostly wrapped in narrative language but also that temporality is an inherent feature both (...) of the events told and of storytelling. 2 Narrativity and temporality touch upon basic metaphysical and anthropological questions, as Paul Ricoeur has pointed out, if narration is to be understood as self-explanation of a human being in whom "time" occurs as "being-in-time." 3 The following paper cannot claim to contribute to the current debate but presents Francesco Patrizi (1529-97) 4 as a Renaissance philosopher who addressed several of these problems. In discussing his conceptions of history and time, however, it is the aim of this paper only to locate these within his own philosophy. [End Page 59]One of the unresolved problems in the writings of Francesco Patrizi is the difference between his earlier contributions to the humanistic canon and his late philosophical main treatise, Nova de universis Philosophia. The earlier writings conform to the usual humanist literary topics: the political program of a città felice, the treatises on honor, the poetic fury, Petrarch (1553), and then his two dialogues on history (1560) and rhetoric (1562). The two works which followed, the Discussiones peripateticae (1571) and the Poetics (1586), show a characteristic development of humanist thinking, namely, the differentiation of purely philological from essentially philosophical literature.Patrizi's Discussiones peripateticae 5 is a polemic against Aristotle, written from a Platonic viewpoint, but his own philosophy is concealed under a mass of philological material. In an attempt that seeks to be virtually definitive, he cites passages from Aristotle and the Peripatetic tradition in order to point out mistakes and contradictions. It was on this account that Giordano Bruno heaped ridicule on him, calling him "sterco di pedanti." Simply put, he tells us, Patrizi demonstrates "how like he is to an ox or an ass." One cannot say that he has understood Aristotle either well or ill, but merely that he has read him and reread him, cut him up and stitched him together, compared him with a thousand other Greek writers, friends and foes alike, and altogether gone to an immense deal of trouble, not only to no purpose whatsoever but also to our infinite disappointment. Anyone who wishes to see into just what folly and self-regarding vanity pedantic drudgery can plunge and sink should read this book. 6This was one contemporary reaction to Patrizi's attempt to explore all the possibilities of a humanistic style of literary criticism, via the comparison between Plato and Aristotle. 7The Poetics 8 is essentially divided into two quite distinct halves: Della poetica la deca istoriale and Della poetica la deca disputata. The first is a lexicon of [End Page 60] the ancient authors, categories, styles, etc., and the second a series of dissertations on the theory of poetry but these, too, with abundant reference to both ancient and contemporary literature.Finally, and entirely different in style, there is his principal work, the Nova de universis Philosophia (1591). 9 Here the philosopher systematically departs from his accustomed field, ranging from a theory of light (Panaugia), via a discussion on theological principles (Panarchia) and a theory of the soul (Pampsychia) to the Pancosmia, a treatise on cosmology and physics. Even to this work he appends a number of documentary excerpts, and there is no lack of excursions into literary history, but the main part of the work is entirely axiomatic--"methodical"--in approach and argumentative in style.These works of Patrizi represent the development of philosophical humanism in the sixteenth century, a development away from a unified presentation of the problems of the human sciences by the explicit use of the tools of literary rhetoric, and towards the research of philological sources on the one hand and... (shrink)

The integrity of the human being made in the image and likeness of God (Genesis 1:26) has been a challenge confronting not just the theologian, but great rulers, politicians, reformers, scientists, poets, artists, composers and novelists over centuries. The Orthodox Tradition might note that our human condition in time and space is shaped and challenged by this journey from likeness to image. Biblically we journey to see the face of God. Less theologically, the human condition is shaped by the tensions (...) and contradictions as we journey to seek 'freedom'. Paradigms of Freedom explores, in the context of the unfolding of modern history, how this challenge has been compounded and enriched by the people and institutions who have sought to find and promote the concept of freedom (and issues of personal liberty) in the face of contrary or oppressive circumstances and systems. Importantly, it will examine the contribution of the artist to various models of freedom, some of which may be identified as vectors of transcendence; when image becomes likeness. The nature of human society, the sense of social harmony and paternalistic control that characterized society for centuries, and especially the emergence of Western culture, began to crumble in the fourteenth century with the cataclysmic onslaught of the Black Death; the challenge to the monolithic power of the Church and the nature of feudalism; the growth of new philosophical and political theories; and overall crumbling of authority. In the fifteenth century new developments like the invention of printing; the standardization of modern languages; and the global expansion of exploration, mercantilism and colonization presented unprecedented horizons of growth and challenges to the place and meaning of humanity in the world. These challenges are embodied in the Renaissance and Reformation, where the very foundations of belief and knowledge were questioned in new processes of discovery in both the world and the cosmos. The nature of freedom to search, to question and to discover new things brought about political and intellectual developments in an ever-expanding series of movements and interrogations. Moved by the annals of the times, individuals have sought to understand and perpetuate the heroic struggles through their own creative power. This in turn can draw us to share in those lost or sorrowful times, and reflect on the sacrifice and vision of those who have been prepared to witness fearlessly to the indomitable spirit of mankind, and his slow but inexorable movement or journey into the light. This exposition will examine various types/paradigms that have proposed and embodied concepts of freedom. These have tried, and often succeeded, in serving as vectors of transcendence, meditating on and mediating human aspiration. Such reflective movements of mind and heart are embodied both contemporaneously and retrospectively in various historical movements, political gestures and artistic creativity that have provoked thoughts on human liberty: political actions, decrees, philosophy, books, pictorial art, novels, poetry, theatre, opera and film. Representatives and examples (in words and imagery) of all these modes are exemplified in the chapters that explore certain iconic movements and personalities in some of the key historical and social events of the past six centuries. The process is of necessity selective. Religious conflict, freedom of thought and denomination, the wars fought over faith and control of the land, the desire for liberty of choice, challenging new discoveries in science and geography, cosmology, colonialism and slavery, Enlightenment, revolution and the search for national identity and independence-these are all areas that have absorbed human thought, knowledge and aspiration, and resulted in inevitable artistic reflection. This is not a history but a consideration of mankind's search to be free, and how this striving is embodied in the poetry of liberation. (shrink)

In both his life and poetry, The Ruined Cottage marked a decisive breakthrough for Wordsworth, which resulted from his daring adoption and sustained use of a monistic idea. Though hitherto mostly dismissed or construed as a derivative of Platonism, Stoicism, Christian mysticism, and/or other conventional English and European concepts and usually seen as part of his supposedly quietist retreat from radical politics, the philosophy of One Life which Wordsworth promoted was in reality a recognizably unconventional conceptual innovation, which indeed made (...) possible his poetic and political innovations in The Ruined Cottage and beyond. In the larger context of ideas that extends well beyond England and Europe and involves in particular the Chinese cosmological belief in tianren heyi or humanity’s unity with heaven, this essay explores Wordsworth’s innovative use of monism in The Ruined Cottage and argues for a significantly different understanding of Wordsworth and the related rise of English Romanticism. (shrink)

This paper traces some of the sources of Socratic dialectic: myth, drama, lyric poetry, law and the courts, pre-Socratic cosmology.

In lieu of an abstract, here is a brief excerpt of the content:Parmenides: The Road to Reality A New Verse Translation RICHARD MCKIM introduction i. In the history of Presocratic Greek philosophy, the poetry of Parmenides seems to loom up suddenly out of the blue like a spectral mountain peak. Depicting a vision of ultimate reality that transcends the sensory world, his towering verse manifesto revolutionized both how philosophers thought and what they thought about, with profound repercussions that still reverberate (...) today. Parmenides has not, however, been well served by his English translators. He wrote poetry and yet is almost always translated into prose. His poem describes a divinely inspired revelation and yet is persistently translated as if it were an exercise in deductive logic. His Greek can be strange and difficult but is never unintelligible, which is more than can be said for the Anglo-gibberish his translators too often force him to speak. Too many subscribe to the misguided notion that a “literal” translation, as close as possible to word-forword, best represents the original. In fact, the painful English that results, so far from being faithful to the Greek, actually betrays it, creating the obscurities it purports to reflect. Parmenides ’ reputation for being hard to understand is largely his translators’ fault, not his. I’ve undertaken to make amends by translating his poem as a poem, in a loose English approximation of the same meter. My goal is to capture some of what gets lost in prose—to mirror, however dimly, the vital role of poetic form in shaping Parmenides’ vision. The demands of meter make literal translation impossible—not at all a bad thing— while paradoxically freeing the translator to be more faitharion 27.2 fall 2019 ful. I’ve tried to use this freedom to demonstrate that Parmenides is not the obscurantist would-be logician of so many other translations but a philosopher who thinks in poetry, and whose thought is as clear and accessible as it is astonishing. ii. parmenides was a citizen of Elea, a Greek colonial town on the west coast of the ankle of Italy’s boot. Born around 515 BCE, he was an older contemporary of Socrates, who was born in 470 (according to Plato, the two men met when Parmenides was sixty-five). Several other so-called Presocratics were active even later—Democritus for one was Socrates’ junior by a decade. But the label is still useful: while Socrates reoriented philosophy toward moral values and politics, the later Presocratics maintained their predecessors’ focus on physics and cosmology. Their project was to account for the physical workings of the universe—its origins, its elements, and the forces or laws that govern its behavior— without falling back on the gods of traditional myth. But Parmenides splits their story in two. Before him, Presocratics took the reality of the sensory world for granted— a world of multiplicity and variety, motion and change, becoming and passing away. Parmenides radically rejected this assumption. The sensory world, he declared, is an illusion. What really exists is what he calls “being,” whose true nature can be perceived only by the mind. And by clearly perceiving what being must be like, the mind perceives that it can’t be anything like the world as our senses perceive it. Being is the exact opposite of the sensory world in every respect. It is timeless, motionless, changeless and imperishable, an eternal and indivisible One. After Parmenides, the reality of the sensory world needed defending. Subsequent Presocratics had to explain, at a minimum, how it could circumvent his ban on multiplicity and motion. Most notably, he provoked Leucippus and Democri106 parmenides: the road to reality tus into developing their theory of atomism—that the universe consists entirely of atoms in a void. Atoms are microscopic Parmenidean beings insofar as they’re indivisible, indestructible and immutable, but they can be infinite in number, they can move, collide and combine, thanks to the roominess of the infinite void, defined as the absence of being. Never mind that Parmenides ruled out the existence of such an absence—by inspiring atomism, he became, in his otherworldly way, the unwitting godfather of modern physics. As for metaphysics, it may be debatable whether he arrived at the idea... (shrink)

This paper follows the Salt-Wind and subterraneous freshwater flows in Hawaiian poet Brandy Nālani McDougall's collection of poetry The Salt-Wind/ka Makani Pa'akai. McDougall illustrates that in order to begin again in the aftermath of American imperialism and environmental destruction, one must return to the salt-water and sub-surface waterings, and the ancestral connections and voices therein who beckon her (and others) home. In this way, her work is situated within contemporary movements within the Pacific, presently coming together in deimperializing efforts to (...) restructure a future for the Pacific that is ‘beyond empires’ (Fujikane, 2012: 191). Selecting two poems in particular from McDougall's collection—'Hāloanaka’ and ‘On a Routing Slip from the U.S. Postal Service, Pukalani Branch'—I illustrate how they chart the ancestral, cosmological, and historical flows of kinship between Kānaka Maoli and their near and distant earthly and spiritual relations. In particular, the water that passes through the taro plant infuses all manner of kinship, economic, and social relations in Hawai'i, connecting Kānaka Maoli to their ancestor Hāloa, and to land, sea, and each other, as well as—through the formative oceanic movements of Moana Nui—to other Pacific islanders. A thirst for water—sacred, imaginative, mobile, past, present—underwritten by an assertion of Hawaiian sovereignty, language, and tradition flows just beneath the surface of McDougall's words. (shrink)

For centuries, westerners have referred to China's numerous traditions of spiritual expression as "religious"--a word born of western thought that cannot completely characterize the passionate writing that fills the pages of this pathbreaking anthology. The first of its kind in well over thirty years, this text offers the student of Chinese ritual and cosmology the broadest range of primary sources from antiquity to the modern era. Readings are arranged chronologically and cover such concepts as Taoism, Confucianism, Buddhism, and even (...) communism. A large number of the selections concern the role of the female in Chinese religion, and are either by or about women. Through invocations, poetry, drama, philosophical texts, religious treatises, and modern fiction, students hear the voices of numerous Chinese masters expounding on the movements and traditions that inspired them: the mysterious Tao-te ching of Lao Tzu, cloaked in the mists of deepest antiquity; the Analects of stately, reverent Confucius; "Nailing a Stick into Empty Space," from The Recorded Conversations of Ch'an Master I-hsuan, and many others, including the work of Mencius, Pan Chao, Han Shan, Chang Tsai, Wang Yang-ming, Lu Hsun, and Mao Tse-tung. Fully one third of the translations are new, and each reading is preceded by an introduction that explains its importance and salient features. Complete with a helpful chronology of dynasties and list of possible video sources, this remarkable volume collects under one cover the most significant and influential works of China's dynamic spiritual tradition, making a fundamental contribution to courses in Chinese religion, literature, and history. (shrink)

This study examines rivers as a literary phenomenon, particularly in the poetry of Vergil. It first considers the Greco-Roman understanding of the river in its primary symbolic roles, cosmological, ritual and ethnographical, and then analyzes the river as a literary device, arguing that descriptions of rivers in Roman poetry are, in many cases, a form of authorial comment on the progress or structure of a narrative.

In lieu of an abstract, here is a brief excerpt of the content:Hegelian RhetoricThora Ilin BayerIntroduction: Rhetoric and DialecticAristotle in the famous first line of his Rhetoric defines the relationship between rhetoric and dialectic: "Rhetoric is the counterpart of dialectic" (1354a). Both rhetoric and dialectic belong to no definitive science. They treat those things that come within the purview of all human beings. As an antistrophes to dialectic, rhetoric concerns particular cases and "may be defined as the faculty [dynamis] of (...) observing in any given case the available means of persuasion" (1355b). Dialectic concerns reasoning on general issues and in its generality it is like deduction. But unlike deductive demonstration, dialectic, as Aristotle says in Topics, "reasons from reputable opinions," rather than from premises that are true and primitive (100a).Kant in the Critique of Pure Reason takes a more extreme view of dialectic than Aristotle. Kant regards dialectic as a logic of illusion (Schein) that occurs when reason takes its powers beyond experience to make claims concerning the nature of the soul, world, and God. When reason attempts to determine the nature of what the soul is in itself, its assertions end in paralogisms; when it does so about the world its claims end in antinomies; and when it does so about God its efforts end in the impossibilities of the ontological, cosmological, and teleological arguments. Kant regards rhetoric as having no role in the philosophical pursuit of truth. In the Critique of Judgment Kant classifies rhetoric (Beredsamkeit) as belonging [End Page 203] to fine art. He regards ars oratoria as an art of manipulation and deception that achieves its end by a beautiful show (Schein) of speech that plays upon human weaknesses. He says oratory deserves no respect whatsoever—"ist gar keiner Achtung würdig" (1951, 172n50; 1974, 185n).1 Kant's exclusion of rhetoric from Kritik (with which he identifies philosophy) establishes the general exclusion of rhetoric in the development of philosophical idealism.Hegel interpretation for a century and a half presumed that rhetoric was irrelevant to understanding Hegel's thought. It considered Hegel's dialectic as a method independent of any connection to rhetoric. The first book on Hegel in English, James Hutchinson Stirling's The Secret of Hegel, published in 1863, regards the key to Hegel's system as his formulation of the concrete universal (Begriff). He makes no reference to rhetoric as an element in Hegel's thought (1887, xxii). In his preface to the Phenomenology of Spirit, Hegel mentions Plato's Parmenides as "surely the greatest artistic achievement of the ancient dialectic," but he makes no mention of rhetoric (1952, 57; 1977, 44). A ground for ignoring rhetoric as important for Hegel's philosophy is the fact that Hegel himself ignores it. There is no discussion of rhetoric (Redekunst) in his whole corpus beyond a few pages concerning the differences between poetry and prose in his Lectures on Fine Art (1986, 15:257–68; 1998, 2:986–95).All of the approaches to Hegel in nonrhetorical terms changed with the appearance of Donald Phillip Verene's Hegel's Recollection: A Study of Images in the "Phenomenology of Spirit" (1985) followed by John H. Smith's The Spirit and Its Letter: Traces of Rhetoric in Hegel's Philosophy of "Bildung" (1988).2 Verene's work showed that there is a dialectic between image (Bild) and concept (Begriff) within Hegel's mode of expression that provides the reader with a necessary means of access to the work. Smith's study showed not only that Hegel employs rhetorical principles in the composition of the Phenomenology but that Hegel in his early years studied rhetoric closely and was concerned to master it. Smith's work, although developed independently of Verene's, joined with it to present a new reading of Hegel. This poetical and rhetorical grasp of Hegel's thought has been recently restated in Verene's Hegel's Absolute (2007).My views that follow begin where Verene's and Smith's accounts leave off. I wish to consider two questions that extend what has been broached in their readings of Hegel. (1) In what sense does Hegel's Phenomenology embody a transformation of the Aristotelian conception of rhetoric as an antistrophes to dialectic? (2) To... (shrink)

I suggest that ubiquitous references made by Confucius to poetic songs in the Analects reveal an important aspect of his philosophy. This aspect involves the assumption that things in the world “resonate” with one another. Using elements of Alfred North Whitehead's thought, as well as metaphysical insights from the Han Dynasty text, Huainanzi, I first present an aesthetic theory along with a supporting cosmological vision that enhances our appreciation of this trait in the Confucian world. With these preliminaries in mind, (...) I approach the Analects itself. I will isolate the term xing, or “stimulation “, and demonstrate how this term allows us to understand the function of poetry for the early Confucians. I conclude that poetry was thought to behave much like what Whitehead called “propositions”, and that this function assumes a world with certain basic tendencies normally associated with Daoist cosmology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis Concerning the Character of Islamic ArtAsli GocerWhy Islamic art has the distinctive features it has continues to generate clashing explanations. The Islamic visual treasury has no figural images, for instance, and three-dimensional sculpture or large scale oil painting, but instead contains miniatures, vegetal ornaments, arabesque surface patterns, and complex geometrical designs. To account for the phenomena the following radically opposing theories have been offered: the influence of (...) Judaism, the Quranic prohibition against making images, 1 Islamic resentment of the glory of Byzantine icons, 2 logocentricism of classical Islam, 3 the spiritual dimension of Islam, 4 tacit Islamic assertion of “otherness,” 5 and contingency of history. 6 The merits of these theories have been roundly discussed in the literature, and so I will not repeat the task here. I will insist that none of these theories offer a coherent explanation for all arts, but my presumption is that such an explanation is possible. In nonvisual arts the Muslim prefers simple tunes over that of the symphony, for instance, whirling dervishes over the ballet, and lyric poetry over dramatic literature. In my view what explains the common characteristic of all these arts is a certain kind of Islamic attitude informed by a certain philosophical outlook. Although it would be hasty to suggest the existence of a monolithic [End Page 683] Islamic art, it would be equally rash to deny some striking commonalities among its diverse examples. 7The following observation by a Muslim scholar is notable in this regard: “Whether in the great courtyard of the Delhi Mosque or the Qarawiyyin in Fez, one feels oneself within the same artistic and spiritual universe despite all the local variations in material, structural techniques, and the like.” 8 Some cite geometry as what mediates that feeling to the observer despite the cultural divergences in style. 9 Even those who have given up the search for the universal or the spiritual in Islamic art cannot help but see in it the classical ideal of beauty. 10 It is this classical heritage that in fact holds one of the important keys to the puzzle at hand. In particular I shall claim that Islamic art is the living image of what Plato has in mind for art in a theocratic state. Clearly, to refer to Plato and art in the same breath invites trouble. As is well enough known, giving a general interpretation of Plato’s views on the nature of art is a very complex endeavor. 11 Even in the face of grave difficulties in textual exegesis, however, there is sufficient evidence that Plato has some settled views on art. Those pertinent to our discussion here involve two claims, that beauty and goodness are divine and that all human endeavor (including artistic creation) must imitate the divine. 12 Although Platonic strain in Islam has been noted in other areas, its persistent legacy has been overlooked in art. 13 I shall argue that the Platonic influence on Islamic thought can be traced not only to political philosophy 14 and geometry, 15 as it has been commonly accepted, but also aesthetics. 16 A philosophical explanation of the Islamic attitude toward art may therefore be derivable from the Platonic axiom that god is the paradigm of beauty, which is the cosmological principle of [End Page 684] order and harmony; and as all created things, art, too, must reflect the divine paradigm.Before defending this ahistorical hypothesis on the character of Islamic art so reviled in recent literature, a few caveats are in order. “Islamic art” contains redundant terms. Strictly speaking all art in Islam is “Islamic,” because for the Muslim art is a crucial point of contact with the divine. That art should direct the mind to the divine is also Plato’s view. 17 Second, the categories that have traditionally been used to describe Islamic art such as “aniconic” and “nonrepresentational” are unhelpful for the problem at hand. 18 When it comes to the issue of iconography in Islamic arts, there is no consensus, for Islamicists are notably divided on the semiotic dimension of the Islamic visual language. The question of whether the geometric surface pattern is essentially iconography, for instance, is yet... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Original Tao: Inward Training and the Foundations of Taoist MysticismJohn A. TuckerOriginal Tao: Inward Training and the Foundations of Taoist Mysticism. By Harold D. Roth. New York: Columbia University Press, 1999. Pp. v + 268. Hardcover $29.50.Searching for the origins of things remains a perennial favorite of Western scholars. For millennia, this quest has been at the core of innumerable scholarly projects. However, it has had significantly less (...) appeal to Asian thinkers, many of whom are more accustomed to assuming a continual presence or an eternal, cyclical recurrence, rather than an absolute beginning or creation ex nihilo from which all could be traced. Harold Roth's Original Tao: Inward Training and the Foundations of Taoist Mysticism continues this time-honored line of investigation, applying it to Taoist mystical writings, in a search for what Roth calls "the original tao." While such a line of research might appear perfectly reasonable to Western minds, it seems a bit incongruous with much of Taoist thought, especially when the latter is accepted and explained in terms of its own categories. For Taoists, of course, the uncarved block, the great thoroughfare, the tao itself, is the origin of all things, including mystical approaches to it and the human predicament.Given this anti-genealogical outlook, with its radical de-emphasis of texts and historical individuals, it should come as no surprise that the origins of Taoism are as murky, and hints about the same as misleading, as any could possibly be. The legendary figure Lao Tzu, now widely recognized as a fabricated philosopher meant to supply a set of presumably whimsical origins, and thus mock the appeal to them, is a case in point. Another might be the Chuang Tzu's satirically progressive deconstruction of the notion of a "beginning to being" via positing an infinite regress of beginnings that have not yet begun to be.1 Despite this, there remains the determination (and Roth is by no means alone here) to discover what has been hidden, perhaps intentionally. Without meaning to compromise this quest, we nevertheless might well ask whether the search does not somehow impair its own integrity as a [End Page 307] statement about the subject being explored. Put another way, is not the way that can be discussed the true way?Methodologically, Roth's book is "a study in 'textual archaeology' " that seeks to uncover "long-lost or long-overlooked texts and the interpretation of their significance" (p. 3). Its focus is on a collection of philosophical verses titled Nei-yeh (Inward training), which, as Roth notes, A. C. Graham earlier characterized as "possibly the oldest mystical text in China" (p. 2). While basing his analyses in part on textual, historical, and hermeneutic insights that have resulted from the relatively recent discovery of the Ma-wang-tui manuscripts, Roth's purported discovery of "the original tao" emerged not from the literal, archaeological unearthing of a text hitherto unknown, but from a new level of interpretive, historical appreciation of a writing long known to exist, Inward Training.Inward Training had been known, however, as a portion of the Kuan Tzu, a work typically characterized as "legalist" in philosophical orientation. By analyzing Inward Training via a "mystical hermeneutic," Roth suggests that the verses composing it are not just so much ancient metaphysical poetry, but instead derived from a group of devoted practitioners of breathing meditation who conceptualized their discipline through metaphysical notions regarding both the cosmos and human nature. According to Roth, these practitioners subscribed to the "guiding and pulling" methods often associated with "dietary and sexual regimens," practices later criticized in texts such as the Chuang Tzu and Huai-nan Tzu. The cosmology generated by these practitioners, and recorded in Inward Training, was, notably enough, similar to what emerged later in the Lao Tzu, a text mistakenly considered, for millennia, to be the origin of the way. Thus Roth resituates Inward Training, moving it from the more recent peripheries of antiquity to the very headwaters of the ancient tradition, as the original way.In radically rethinking the beginnings of Taoism without invoking the traditionally accepted but apparently ahistorical claims of a Lao-Chuang filiation, Roth proposes a new... (shrink)

McLuhan’s contribution to this book consists of several rather oracular pages of rapprochements of Empedocles with T. S. Eliot, relating mainly, it seems, to the distinction between auditory and visual imagination. In introducing this book Lambridis claims that Empedocles is treated "briefly and almost contemptuously" in "the standard books on the history of ancient Greek philosophy" and that aspects of Empedocles’ thought are largely misunderstood. Lambridis feels however that Empedocles is "a very important philosopher" and, "moreover, can be called the (...) greatest philosopher-poet of the ancient world." We may thus expect in what follows both a demonstration of the importance of Empedocles and a clarification of aspects of his philosophy. Lambridis attempts this in a series of chapters on "The Sources," "Life and Legend," "Contemporaries," "Physics and Metaphysics," "Sensation and Knowledge," "Biology," "Cosmology," "Conversion," "Poetry." Lambridis is not afraid to attack the major problems in interpreting Empedocles: the problem of the relation between On Nature and the Purifications is solved by taking the latter poem to be a later composition reflecting a conversion to Pythagoreanism ; the problem of the cosmic cycle is solved by proposing that it consists of a cycle of the sequence of stages, Sphairos—invasion of strife—dominance of love—invasion of strife—Sphairos. (shrink)

The mystery of existence and our place in that mystery--as expressed in a single Chinese landscape painting: a new work of meditative philosophy by the renowned translator of the Chinese classics and author of Hunger Mountain. Join David Hinton, the premier modern translator of the Chinese classics, as he stands before a single landscape painting, discovering in it the wondrous story of existence—and as part of that story, the magical nature of consciousness. What he coaxes from the image is nothing (...) less than a revelation: the dynamic interweaving of mind and Cosmos, and the glorious dance of Absence and Presence that is the secret of that Cosmos. The painting called Peaceful-Distance Pavilion by Shih-t'ao (1642-1707) is, like other paintings in that genre, mostly space: one tiny figure, accompanied by an attendant, looks out over a vast landscape of mountains and clouds. But start looking into that space and, with the right guidance, what you end up seeing is profound. David Hinton is the perfect guide. He uses his knowledge of Chinese philosophy, poetry, art, language, and writing system to illuminate this painting's message, which is ultimately the story of the glorious dance between nothing and everything, between emptiness and existence. It's an enthralling journey that can change the way you look at the world, a journey for which David is a wise and eloquent guide. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 121 her hermeneutical enterprise. I agree that the Hippolytean interpretation is interesting (how could any interpretation of Heraclitus be without interest?) but I am not convinced that it is new. Here I must be brief: as early as Plato a case can be made for awareness of the moral implications of Heraclitus's cosmological views. The interconnection which Plato sees between Protagorean relativism (moral as well as epistemological (...) ) and Heraclitean (cosmic) flux in the first part of the Theaetetus is indicative of this 052d-e, 16od-e with 172a-b; and for some suggestive commentary see T. Irwin, Plato's Moral Theory [Oxford University Press, 1977], x48-53 ). And given this normative gloss on Heraclitus's cosmological views, based as it is on pre-Hippolytean evidence, I conclude that the new methodology which Osborne proposes is not likely to change our picture of the Presocratics. DANIEL H. FRANK University of Kentucky G. R. F. Ferrari. Listening to the Cicadas:A Study of Plato's "Phaedrus." Cambridge Classical Studies. Cambridge: Cambridge University Press, t987. Pp. xiii + 293. $39.5o. Plato's conception of the philosophical life acknowledges as centrally important a transcendent aspiration. It also incorporates an appreciation for the philosopher's worldly and contingent biography. In the Symposium Plato portrays the stages of philosophical development and how they transcend worldly beauty only to issue, in the end, in a demand for reshaping the world in terms of the soul's ultimate vision and understanding. In the Republic Plato sketches the psychological, moral, and cognitive itinerary of philosophical education and training. Moreover, Plato emphasizes the necessity that directs the philosopher to return to the world, to organize and maintain social-political life, and to cultivate friendship, justice, and psychological health. In the Phaedrus Plato turns to the domain of interpersonal relations, the sphere of love, and there he charts the way in which the philosophical life arises out of the encounter between lover and beloved and then gives shape to that relationship. This confrontation between the philosophical lover and the contingency of his embodiment is one of the central themes of Professor Ferrari's study of the Phaedrus. That theme concerns the domain of "goods which, although external to the philosophic life, nevertheless belong to it more than just accidentally [and] which result from the realisation~0f the philosophic impulse in our actual lives" (a 28). There are a host of scholarly cruxes in the Phaedrus that Ferrari discusses: the role of the dialogue's pastoral setting; the relation between the dialogue's two parts; the relations among philosophy, poetry, and prophecy; the precise character of Plato's psychology in the Phaedrus; the nature of philosophical madness; whether Plato's famous remark on writing is the theme of the dialogue or a mere epilogue to it; the Platonic use of myth; and so forth. But Ferrari does not approach the dialogue through these cruxes; nor does he enter the Phaedrus through Plato's moral philosophy, his epistemology, or his psychology. Rather he engages the dialogue as it presents itself, as a literary document written with care and discipline, and as an attempt 122 JOURNAL OF THE HISTORY OF PHILOSOPHY 28:1 JANUARY 1990 on Plato's part to show something important about the philosophical life. The key word here is 'show', for it is Ferrari's conviction that in the Phaedrus Plato exploits the distinctions between what can be told and what can be shown and between background and foreground in order to exhibit two things: how philosophy and rhetoric are interrelated and hence what the philosophical art is, on the one hand, and how the philosophical life is stimulated by and enriches the experience of interpersonal love, on the other. In the Phaedrus Plato develops a rhetorical strategy for showing the philosophical life by juxtaposing it with alternative lives and by exhibiting it and these alternatives against a carefully articulated background. This is why the portraits of Socrates, Lysias, and Phaedrus are given so vividly and in part why Plato turns to myth, as a philosophical strategy for presenting philosophical love. Philosophy, then, must be rhetorical. But also, rhetoric, to be genuine, must be philosophical. Part of what... (shrink)

These six lectures from the twentyfirst Thomas Spencer Jerome Lectures, an annual series exploring various dimensions of Roman life, provide an invaluable reflection on the relationship, Pelikan’s “counterpoint,” between Genesis and the Timaeus down through the ages. How did the only Platonic dialogue known in its entirety during the Middle Ages influence Judaeo-Christian cosmology? Pelikan chooses to answer this question by first discussing “Classical Rome: ‘Description of the Universe as Philosophy’” and Lucretius’ theological and literary contributions to the history (...) of cosmogonic speculation. In rejecting divine causality, Lucretius’ atomism made room for natural science and for a teleology without explicit reference to direct heavenly agency. Talk of the divine was thus interpreted apophatically and the poetry of de Rerum Natura allowed the truths of what remains for us a “likely story” to be conveyed without a historical or anthropomorphic literalness. Lucretius’ indebtedness to Epicurean materialism is obvious and as Pelikan stresses, “it was from Athens that classical Rome learned to think philosophically about cosmogony”. In “Athens: Geneseôs Archê as ‘The Principle of Becoming’,” Pelikan poses the fundamental questions: Why was the cosmos created? And according to what model had it been created? Plato’s answer is of course that the world of becoming is an image of an immutable and perfect model. This patterning is due to God as Goodness and his willing that all things act together for a purpose. Chapter 3 continues this inquiry with “Jerusalem: Genesis as a ‘Likely Account’ of One God Almighty Maker.” Here Pelikan focuses in on Jerusalem’s contribution of the imago Dei. While the Timaeus defines “the terms of the counterpoint,” Genesis sets “the outline and sequence” of creation, the crowning achievement of which is the rational and sovereign human person. Therefore, whereas Plato may have understood the entire universe to be in God’s image, Moses reserved this exalted position for humanity alone, a dignity Pelikan treats in his discussion of free moral choice. (shrink)

Hastings Center Report, Volume 52, Issue S1, Page S18-S21, March‐April 2022.

Fabi and Goldberg raised important considerations regarding both research and funding priorities in the field of bioethics and, in particular, the field’s misalignment with social justice. W...

Plato used mathematics extensively in his account of the cosmos in the Timaeus, but as he did not use equations, but did use geometry, harmony and according to some, numerology, it has not been clear how or to what effect he used mathematics. This paper argues that the relationship between mathematics and cosmology is not atemporally evident and that Plato’s use of mathematics was an open and rational possibility in his context, though that sort of use of mathematics has (...) subsequently been superseded as science has progressed. I argue that there is a philosophically and historically meaningful space between ‘primitive’ or unreflective uses of mathematics and the modern conception of how mathematics relates to cosmology. Plato’s use of mathematics in the Timaeus enabled the cosmos to be as good as it could be, allowed the demiurge a rational choice and allowed Timaeus to give an account of the cosmos. I also argue that within this space it is both meaningful and important to differentiate between Pythagorean and Platonic uses of number and that we need to reject the idea of ‘Pythagorean/platonic number mysticism’. Plato’s use of number in the Timaeus was not mystical even though it does not match modern usage. (shrink)

I discuss how modern cosmology illustrates under-determination of theoretical hypotheses by data, in ways that are different from most philosophical discussions. I emphasise cosmology's concern with what data could in principle be collected by a single observer ; and I give a broadly sceptical discussion of cosmology's appeal to the cosmological principle as a way of breaking the under-determination.I confine most of the discussion to the history of the observable universe from about one second after the Big (...) Bang, as described by the mainstream cosmological model: in effect, what cosmologists in the early 1970s dubbed the ‘standard model’, as elaborated since then. But in the closing Section 4, I broach some questions about times earlier than one second. (shrink)

We offer a new proposal for cosmic singularity resolution based upon a quantum cosmology with a unitary bounce. This proposal is illustrated via a novel quantization of a mini-superspace model in which there can be superpositions of the cosmological constant. This possibility leads to a finite, bouncing unitary cosmology. Whereas the usual Wheeler–DeWitt cosmology generically displays pathological behaviour in terms of non-finite expectation values and non-unitary dynamics, the finiteness and unitarity of our model are formally guaranteed. For (...) classically singular models with a massless scalar field and cosmological constant, we show that well-behaved quantum observables can be constructed and generic solutions to the universal Schrodinger equation are singularity-free. Key features of the solutions of our model include a cosmic bounce due to quantum gravitational effects, a well-defined FLRW limit far from the bounce, and a super-inflationary epoch in the intermediate region. Furthermore, our model displays novel features including: i) superpositions of values of the cosmological constant; ii) a non-zero scattering length around the big bounce; and iii) bound ‘Efimov universe’ states for negative cosmological constant. The last feature provides a new platform for quantum simulation of the early universe. A companion paper provides detailed interpretation and analysis of particular cosmological solutions. (shrink)

This article seeks to interpret the phrase Πάτερ, ημων ο εν τοῖς οὐρανοῖς in the invocation of the Lord’s Prayer in the light of Ewe-Ghanaian cosmology. The article employs a combination of the historical-critical and indigenous mother tongue biblical hermeneutical approaches to explore the implication of the invocation for Ewe-Ghanaian Christian spirituality today. The article firstly discusses the various theological and hermeneutical positions of the invocation in dialogue with Ewe-Ghanaian concept of God and the plurality of his dwelling place. (...) The article argues that Matthew’s use of οὐρανοῖς to suggest a plurality in God’s dwelling place resonates with Ewe cosmology, where it is believed that there are seven states of existence and that Mawugã, the Supreme Being, dwells in the first – the absolute state. Thus God exists in ‘seven heavens’ in Ewe cosmology, with the highest heaven being the eternal state of abode. On the other hand, the inclusive interpretation of the fatherhood of God in Ewe cosmology is discontinuous with the exclusive interpretation in the works of the church fathers such as Cyprian, Origen, Gregory of Nissa, Augustine and Clement of Alexandria. This hermeneutical position, the article observes, was responsible for the theological tensions that characterised the encounter between missionary Christianity and Ewe indigenous religion in the middle of the 19th century. However, the introduction of social services as evangelisation strategy, the legacy of the Ewe Bible and liturgy and the handing over of the Ewe church to the indigenous coworkers may have contributed to a large extent in ensuring religious tolerance among followers of the two religions. Today, Ewe-Ghanaian popular Christianity has shifted from its apologetic stance to a more liberal stance and employs indigenous religious and cultural categories in theologising.Contribution: Matthew’s rendition of the invocation of the Lord’s Prayer in the context of Ewe-Ghanaian cosmology is the focus of this article. The article forms part of the researcher’s contribution to the academic knowledge on the Lord’s Prayer and inspires the use of mother tongue biblical hermeneutics in the development of theological materials for the Ewe-Ghanaian Christian communities in Ghana and Togo. (shrink)

Philosophers have postulated the existence of God to explain (I) why any contingent objects exist at all rather than nothing contingent, and (II) why the fundamental laws of nature and basic facts of the world are exactly what they are. Therefore, we ask: (a) Does (I) pose a well-conceived question which calls for an answer? and (b) Can God's presumed will (or intention) provide a cogent explanation of the basic laws and facts of the world, as claimed by (II)? We (...) shall address both (a) and (b). To the extent that they yield an unfavourable verdict, the afore-stated reasons for postulating the existence of God are undermined. As for question (I), in 1714, G. W. Leibniz posed the Primordial Existential Question (hereafter 'PEQ'): 'Why is there something contingent at all, rather than just nothing contingent?' This question has two major presuppositions: (1) A state of affairs in which nothing contingent exists is indeed genuinely possible ('the Null Possibility'), the notion of nothingness being both intelligible and free from contradiction; and (2) De jure, there should be nothing contingent at all, and indeed there would be nothing contingent in the absence of an overriding external cause (or reason), because that state of affairs is 'most natural' or 'normal'. The putative world containing nothing contingent is the so-called 'Null World'. As for (1), the logical robustness of the Null Possibility of there being nothing contingent needs to be demonstrated. But even if the Null Possibility is demonstrably genuine, there is an issue: Does that possibility require us to explain why it is not actualized by the Null World, which contains nothing contingent? And, as for (2), it originated as a corollary of the distinctly Christian precept (going back to the second century) that the very existence of any and every contingent entity is utterly dependent on God at any and all times. Like (1), (2) calls for scrutiny. Clearly, if either of these presuppositions of Leibniz's PEQ is ill founded or demonstrably false, then PEQ is aborted as a non-starter, because in that case, it is posing an ill-conceived question. In earlier writings (Grünbaum [2000], p. 5), I have introduced the designation 'SoN' for the ontological 'spontaneity of nothingness' asserted in presupposition (2) of PEQ. Clearly, in response to PEQ, (2) can be challenged by asking the counter-question, 'But why should there be nothing contingent, rather than something contingent?' Leibniz offered an a priori argument for SoN. Yet it will emerge that a priori defences of it fail, and that it has no empirical legitimacy either. Indeed physical cosmology spells an important relevant moral: As against any a priori dictum on what is the 'natural' status of the universe, the verdict on that status depends crucially on empirical evidence. Thus PEQ turns out to be a non-starter, because its presupposed SoN is ill founded! Hence PEQ cannot serve as a springboard for creationist theism. Yet Leibniz and the English theist Richard Swinburne offered divine creation ex nihilo as their answer to the ill-conceived PEQ. But being predicated on SoN, their cosmological arguments for the existence of God are fundamentally unsuccessful. The axiomatically topmost laws of nature (the 'nomology') in a scientific theory are themselves unexplained explainors, and are thus thought to be true as a matter of brute fact. But theists have offered a theological explanation of the specifics of these laws as having been willed or intended by God in the mode of agent causation to be exactly what they are. A whole array of considerations are offered in Section 2 to show that the proposed theistic explanation of the nomology fails multiply to transform scientific brute facts into specifically explained regularities. Thus, I argue for The Poverty of Theistic Cosmology in two major respects. (shrink)

This paper comments on a recent article “Revolutionary poetry and liquid crystal chemistry: Herman Gorter, Ada Prins and the interface between literature and science” by Hub Zwart, in which the author explores the influence of the liquid crystal research of Ada Prins on the epic poem Pan written by her long-time lover Herman Gorter. The present paper reviews the basic science of liquid crystals and explains the connections between the work of Prins and its influence on the poem. Other examples (...) of the use of “liquid crystal” as a literary device are identified from renaissance poetry, and the uses of the metaphor in these poems are analysed from a scientific perspective. From these examples it is suggested that creative concepts from poetry may contain elements of substance that appear in hitherto unrecognised scientific realities. (shrink)