Plato is associated with the idea that the body holds us back from knowing ultimate reality and so we should try to distance ourselves from its influence. This sentiment appears is several of his dialogues including Theaetetus where the flight from the physical world is compared to becoming like God. In some major dialogues of Plato's later career such as Philebus and Laws, however, the idea of becoming like God takes a different turn. God is an intelligent force that tries (...) to create order in the physical world. I argue that likeness to God in these dialogues involves imitating God's effort by trying to order our bodies, souls, and societies as intelligence directs. Becoming like Plato's God is not to abandon the world. It is to improve it. (shrink)

For students and the general reader, this is the best English translation of the entire 'Laws' available. I give several examples of important lines that are translated well in this edition, but I take issue with the translation of some other lines and with part of Schofield's introduction on grounds that these parts do not reveal Plato's political and cosmic holism as clearly as they could have.

A new English translation of Aristotle's Nicomachean Ethics. This ongoing project aims to translate accurately the meaning of Aristotle's terse Greek into readable American English for students and the general reader.

Epicurus is one of the first social contract theorists, holding that justice is an agreement neither to harm nor be harmed. He also says that living justly is necessary and sufficient for living pleasantly, which is the Epicurean goal. Some say that there are two accounts of justice in Epicurus -- one as a personal virtue, the other as a virtue of institutions. I argue that the personal virtue derives from compliance with just social institutions, and so we need to (...) attribute only one account of justice to Epicurus. I show how this interpretation makes sense of claims about justice by Epicurus and his followers, including Hermarchus, Lucretius, and Diogenes of Oinoanda. (shrink)

A graceful and lucid study of the power of beauty and the deep significance it has in our lives In defining beauty and our response to it, we are often caught between the concrete and the sublime. We wish to categorize beauty, to clearly label its parts, and yet we wish also to celebrate its mysterious-and at times mythical-power. Armstrong's response is a discursive and graceful journey through various and complementary interpretations, leading us from Hogarth's belief that the essence of (...) beauty lies in shapely curves, to Kant's discourses on the meaning of pleasure. (shrink)

The purpose of Sheffield’s careful study is to increase scholarly appreciation of the Symposium as a ‘substantive work in Platonic ethics’ (3). Among the book’s highlights are a persuasive response to Vlastos’ criticism of Plato on love for individuals, an eminently reasonable assessment of the evidence for and against the presence of tripartite psychology in the Symposium, and a delightful interpretation of Alcibiades’ speech at the dialogue’s end—one that reveals elements of satyr play and corroborates rather than undermines Diotima’s account (...) of erôs. My review focuses on Sheffield’s account of Socrates’ speech. She devotes four of seven chapters to it. After summarizing her main argument, I raise two concerns: one about her account of immortality, the other about her interpretation of Plato as a rational eudaimonist. (shrink)

I review Gabriel Richardson Lear's excellent essay on Aristotle’s conception of the human good. She solves some long-standing problems in the interpretation of Aristotle’s ethics by drawing on resources in his natural philosophy and Plato’s conception of love. Her interpretation is a compelling and, to my mind, largely true account of Aristotle’s view. In this review, I summarize the book's main argument and then explain two fundamental points on which I have concerns.

I review this fine collection of articles on ancient ethics ranging from the Presocratics to Sextus Empiricus. Eight of the nine chapters are published here for the first time. Contributors include Charles H. Kahn on "Pre-Platonic Ethics," C. C. W. Taylor on "Platonic Ethics," Stephen Everson on "Aristotle on Nature and Value," John McDowell on "Some Issues in Aristotle's Moral Psychology," David Sedley on "The Inferential Foundations of Epicurean Ethics," T. H. Irwin on "Socratic Paradox and Stoic Theory," Julia Annas (...) on "Doing Without Objective Values: Ancient and Modern Strategies," and Susan Sauvé Meyer on "Moral Responsibility: Aristotle and After." There is also an introductory essay by the editor, Stephen Everson. I summarize and then critique each chapter in this rather lengthy review. (shrink)

In Alice Walker’s vignette “The Flowers,” a young black girl’s walk in the woods is interrupted when she treads “smack” into the skull of a lynched man. As her name predicates, Myop’s age and innocence obstruct her from seeing deeply into the full implications of the scene, while the more worldly reader is jarred and confronted with a whole history of racial violence and slavery. The skeleton, its teeth cracked and broken, is a temporal irruption, a Gothic “smack” that shatters (...) the transience of the pastoral scene with the intrusion of a deeper past from which dead matter/material de-composes the story’s present with the violent matter/issue of racism. Walker’s story is representative of an important trope in fiction, where the pastoral dead speak through the details of their remains, and the temporal fabric of text is disrupted by the very substance of death. Against the backdrops of Terry Gifford’s post-pastoral and Fred Botting’s Gothic understanding of the literary corpse as “negative[ly] sublime,” this essay explores the fictional dead as matter unfettered by genre, consistently signifying beyond their own inanimate silences, revealing suppressed and unpalatable themes of racial and sexual violence, child abuse and cannibalistic consumerism. Along with Walker’s story, this study considers these ideas through new readings of Stephen King’s novella The Body, Raymond Carver’s story “So Much Water So Close to Home,” and The Road by Cormac McCarthy. While these writers may form an unlikely grouping in terms of style, each uses pastoral remains as significant material, deploying the dead as Gothic entities that force the reader to confront America’s darkest social and historical matters. (shrink)