The usual interpretation of Republic 10 takes it as Socrates’ multilevel philosophical demonstration of the untruth and dangerousness of mimesis and its required excision from a well ordered polity. Such readings miss the play of the Platonic mimesis which has within it precisely ordered antistrophes which turn its oft remarked strophes perfectly around. First, this argument, famously concluding to the unreliability of image-makers for producing knowledge begins with two images—the mirror (596e) and the painter. I will show (...) both undercut the argument they introduce. Secondly, Socrates repeats the “three removes” argument three times. Each has its own object and philosophical axis. The “bed” argument (596a-598d) concerns the ontological status of images vis-à-vis human makers and the divine idea. The bit and bridle,” 601b-601d) emphasizes the epistemological status of image-making as beneath the human maker of bridles (having correct opinion) and the human user, who knows. This second takes away the ontological distinction which was the point of the first. Thus, any human being could be in any of the three positions—user, maker, imitator. This dance might bring one to doubt the conclusion that the imitator has “neither knowledge nor right opinion” (602a). Plato leads into his concluding psychological and moral argument (602c-605c) after a third variation of the 3 removes. This last gives us the image of the flute player (601d-602) as the one who knows and so can order the flute maker. We will conclude by considering what it is this flutist could know, and given that his art is itself a mimesis, who the imitator of this imitative artist could be. Thus attention to the differences among these examples opens a defense of the arts, which reverses many of the claims made against the arts within the ostensible “Platonic” argument. (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

I argue that Plato holds a medical model of virtue as health which does not have themorally unacceptable implications which have led some to describe it as authoritarian.This model, which draws on the educational virtues of the elenchos, lacks anyimplication that all criminals are mad or all mad people criminals – this implication beingat the source of many criticisms of Plato’s analogy of virtue and health. After setting upthe analogy and the model, I defend my argument against two objections. The (...) firstclaims that Plato's picture of virtue as health is unacceptable because it entails that vice isa defect and therefore that criminals are all mad. The second resists Kenny'sinterpretation but does so by attacking its first premise, i.e. that Plato believes virtue issome kind of health. I reply that both objections are misguided. (shrink)

An issue which plainly exercised the thoughts of many intellectuals in the late antique world was that of man's relation to the gods, and specifically the problems of the mode of interaction between the human and divine planes of existence. Once one accepted, as anyone with any philosophical training did, that God, or the gods, were not subject to passions, and that, as not only Stoics but also Platonists, at least after the time of Plotinus, believed, the world-order was (either (...) entirely or very largely) determined as a product of God's providence, it became a serious problem as to how precisely one could influence the gods, or the course of events, by one's prayers or sacrifices. And yet efforts to do this, on both the popular and the official level, continued unabated. What was the proper attitude for a Platonist philosopher to take up? This is very much the subject of the well-known controversy between Plotinus' pupil Porphyry and his own pupil Iamblichus which manifests itself in the exchange of public letters known as The Letter to Anebo and The Reply of the Master Abammon to the Letter of Porphyry to Anebo (popularly known, since Marsilio Ficino conferred this title upon it, as De Mysteriis Aegyptiorum). The present article involves a close and sympathetic study of Iamblichus' position in defence of theurgy, reflecting on the validity of the distinction between religion and magic. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John Robert Leo CRITICISM OF CONSCIOUSNESS IN SHELLEY'S A DEFENCE OF POETRY IN his "Ode to Liberty" Shelley locates by encircling and enfolding metaphors a mythic Hellenic moment, one in which verse was yet "speechless" and philosophy still burdened with "lidless eyes." Greece— always for Shelley either the displaced Garden of prethematic unity or the mythic dream of integrated civic and aesthetic life—is about to inaugurate Athens and the (...) "wrinkled image" of historical consciousness.1 Poetry, thinking, and the tilling of an earth "to human use" are implicitly related and foreseen as destiny: from their enchanted caves Prophetic echoes flung dim melody. On the unapprehensive wild The vine, the corn, the olive mild, Grew savage yet, to human use unreconciled; And, like unfolded flowers beneath the sea, Like the man's dark thought in the infant's brain, Like aught that is which wraps what is to be, Art's deathless dreams lay veiled by many a vein Of Parian stone; and, yet a speechless child, Verse murmured, and Philosophy did strain Her lidless eyes for thee... (11. 49-60). Shelley could be describing the reading or speaking of a text, for poetic experience is an originating moment which unfolds our reflections and anticipations. Poetry elides speechlessness and the empty gaze. Its goings are all returnings, its experience is always inventive before meanings codify and resolve: "Every original language near to its source," we find in the Defence (p. 279), "is in itself the chaos of a cyclic poem; the copiousness of lexicography and the distinctions of grammar are the works of a later age and are merely the catalogue and the form of the creations of poetry." What was dark to experience is now illumined, 46 John Robert Leo47 as different regions in experience are uncovered or redistributed by language across our shifting horizons. Thus this bringing-foward-intoclarity, this moving of the previously inexpressed into articulation, is the pattern not only behind Shelley's view ofGreece producing a "sun-fire garlanded" Athens (1. 68), but also the more pervasive design describing other regarded experience. James Edie puts it this way: "We... can learn to make distinctions in our experience by attending to differences of meaning which are normally below the level of our own cultural threshold. By attending to a given region of experience, we can lower the differential thresholds already sedimented in our language almost indefinitely and make what was implicit in our experience more and more explicit."2 Edie's comments may be taken as responses to questions emerging from modernist readings of Shelley and other visionary poets—Blake, Hart Crane, or Charles Olson are instances—who sense the poetic project as a criticism of consciousness, within the lived body, as it struggles to make a world. How do language and the imagination consort in the critical regeneration of our lives? In what sorts of ways is renascence the uncovering and unfolding of an indefinite wholeness by the unlayering of fixed habits and attitudes? How does Shelley's Defence of Poetry, both a text on aesthetics and a reading of the world, suggest their alignment? What methods from critical discourse make Shelley's poetics present to our experience and thought? The adjustment of these issues is the task of the remainder of my article. First I examine Shelley's organization of consciousness into "reason" and "imagination" and trace the meanings of these functions in their immediate social context. A brief dispute with the reductive idealism of Platonic tradition allows for my third procedure, which is a phenomenological description of the imaginative field according to Husserl. Finally, I try to explicate Shelley's understanding of imaginative "decentering" within our experience. I Poetry and prose are saturated with references to phenomena. Texts refer to interior and exterior events (memory, rain), which are objects ofandfor consciousness. Shelley grasps this co-givenness of consciousness and world, their correlativity, as a condition revealed and strengthened by metaphor, which itself arrests us as "that of which we are speaking through words."3 But if it is the nature of language to be both perceptual and yet transcendental, both present and absent, it still exists as the imagination's voice in... (shrink)

The conflict between Platonic realism and Constructivism marks a watershed in philosophy of mathematics. Among other things, the controversy over the Axiom of Choice is typical of the conflict. Platonists accept the Axiom of Choice, which allows a set consisting of the members resulting from infinitely many arbitrary choices, while Constructivists reject the Axiom of Choice and confine themselves to sets consisting of effectively specifiable members. Indeed there are seemingly unpleasant consequences of the Axiom of Choice. The non-constructive nature (...) of the Axiom of Choice leads to the existence of non-Lebesgue measurable sets, which in turn yields the Banach-Tarski Paradox. But the Banach-Tarski Paradox is so called in the sense that it is a counter-intuitive theorem. To corroborate my view that mathematical truths are of non-constructive nature, I shall draw upon Gödel’s Incompleteness Theorems. This also shows the limitations inherent in formal methods. Indeed the Löwenheim-Skolem Theorem and the Skolem Paradox seem to pose a threat to Platonists. In this light, Quine/Putnam’s arguments come to take on a clear meaning. According to the model-theoretic arguments, the Axiom of Choice depends for its truth-value upon the model in which it is placed. In my view, however, this is another limitation inherent in formal methods, not a defect for Platonists. To see this, we shall examine how mathematical models have been developed in the actual practice of mathematics. I argue that most mathematicians accept the Axiom of Choice because the existence of non-Lebesgue measurable sets and the Well-Ordering of reals open the possibility of more fruitful mathematics. Finally, after responding to Benacerraf’s challenge to Platonism, I conclude that in mathematics, as distinct from natural sciences, there is a close connection between essence and existence. Actual mathematical theories are the parts of the maximally logically consistent theory that describes mathematical reality. (shrink)

Sarah Buss has recently argued that endorsement theories of autonomy face three problems: they conflate autonomous agency with agency simpliciter, they face a vicious regress, and they get the extension of autonomous actions wrong. I argue that one such theory, Gary Watson’s Platonic Model, is not subject to any of these problems. I conclude that Buss has not given us reason to reject the Platonic Model and that it may be compatible with her own theory of accountability.

In defense of anti-essentialism, pragmatist Richard Rorty holds that we may think of all objects as if they were numbers. I find that Rorty’s metaphysics hinges on two rather weak arguments against the essences of numbers. In contrast, Plato’s metaphysics offers a plausible definition of essentiality by which numbers do have essential properties. Further, I argue that Rorty’s argumentative mistake is mischaracterizing Plato’s definition. I conclude that Plato’s definition of “essential” is a robust one which implies that many properties, (...) beyond those we might intuitively think of, can count as essential properties of objects. (shrink)

In the De Generatione et Corruptione II 9, Aristotle aims to achieve the confirmation of his theory of the necessity of the efficient cause. In this chapter he sets out his criticism on the one hand of those who wrongly attributed the efficient cause to other kinds of causality and on the other, of those who ignored the efficient cause. More specifically Aristotle divides all preceding theories which attempted to explain generation and corruption into two groups: i) those which offered (...) an explanation by using the formal cause ii) those which provided an explanation by using the material or the instrumental causes. According to Philopo­nus, when Aristotle reproaches the other philosophers for adducing no proper notion of the efficient cause he alludes to both Anaxagoras and Plato. Regarding Anaxagoras, in our view this cannot be confirmed by internal textual evidence. In terms of Plato, in this chapter we trace an explicit and an implicit criticism of the Platonic Forms as causes. Aris­totle’s implicit criticism is that the Forms are not at all active causes. We can understand better the grounds for this criticism if we also consider his relevant arguments in Book Lambda of his Metaphysics. His explicit criticism, articulated in two arguments, is formulated in GC 335b18–24. We examine the different lines of its interpretation in the second­ary literature, but primarily we focus on Philoponus’ exegesis, which contributes significantly, not only to the clarification of Aristotle’s thinking, but also to the manifestation of the arguments articulated in defence of the Platonic theory of the Forms. In this paper, through the analysis of Philoponus’ exegesis we set out to prove that Aristotle’s criticism of the Platonic causes can be construed from the perspective of either Aristo­telian theory or the Platonic and Neoplatonic influence. Finally, based on Philoponus’ exegesis, we examine Aristotle’s criticism of those who posited matter or instrumental causes as efficient causes. (shrink)

Plato's theory of knowledge and belief is an important topic in Platonic scholarship. There are at least two interpretations of Plato's theory of knowledge and belief. (a) The two worlds (or objects) interpretation (TW), and it has two versions: the degree of existence interpretation (DE) and the degree of reality interpretation (DR). According to DE, objects of knowledge fully exist, and objects of belief do not fully exist. According to DR, objects of knowledge are fully real, and objects of (...) belief are not fully real. The main claim of TW is: knowledge and belief range over different objects; knowl­edge ranges over Forms,·and belief ranges over the sensibles. This claim implies that we can have knowledge only of Forms, and belief only of the sensibles. The second interpretation of Plato's theory is b), the content interpretation. There are two versions of the content interpretation. First, there is the degrees of truth (DT) or individual truth version: Knowledge is set over truth, and belief is set over partial truth. Second, there is Fine's collective truth version (CT). The main claim of CT is that: knowledge collects truths (i.e., knowledge entails truth), and that belief collects truths and falsehoods (i.e., some beliefs are true and some are false). This claim implies that knowledge and belief are not always set over different things, i.e., we can have knowledge of the sensibles, and beliefs of Forms. TW is obviously incompatible with CT. It is surprising that little defense of TW has been given following Fine's objection to TW. In this paper, TW will be defended, and it will be argued that CT is not a correct reading of Plato. (shrink)

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

There has been a long tradition of interpreting Plato as a rational egoist. Over the past few decades, however, some scholars have challenged this reading. While Rational Egoism appeals to many ordinary folk, in sophisticated philosophical circles it has fallen out of favor as a general and complete account of the nature of reasons for action. I argue that while the theory of practical rationality that is often equated with rational egoism—a view that I call ‘Simple-Minded Rational Egoism'—is neither plausible (...) nor endorsed by Plato in his Republic, there is a more complex version of Rational Egoism to which Plato is indeed committed. Moreover, such a conception of practical rationality is not vulnerable to the standard set of objections that contemporary philosophers have made against Rational Egoism. (shrink)

The purpose of this dissertation is to develop and defend a method of elimination for determining justifiable basic normative ethical principles. The method is developed by considering Books I and X of Aristotle's Nicomachean Ethics and Plato's Meno. The method requires consideration on two different "levels." Aristotle and Plato use regulative endoxic premises as the evaluative criteria of the method. Such premises, which ideally are based upon universal agreement, guide an inquiry of our sort, i.e., determine the elimination or nonelimination (...) of the alternatives. Concerning the second "level," an adequate list of alternative possible solutions should be presented, and some principle or technique should be provided for determining such an adequate list. On the basis of the above premises, alternatives are evaluated in such a way that lack of accordance with any one of the relevant premises--assuming that there is more than one--is sufficient for the elimination of an alternative. The only alternative that is not eliminated by any of the premises provides the solution to the problem. The Aristotle chapter shows how regulative endoxic premises can be used, in an "ideal" sense, for choosing between two or more alternatives that generally accord with the premises. ;Our discussion of Aristotle and Plato shows that they do use this method and illustrates, in some detail, both how the method is used and specific variations of it. Our philosophers use different principles or techniques for determining the plausible alternatives. Aristotle chooses alternatives which are endoxic opinions. Plato uses the opinions of interlocutors, which are often endoxic, but he basically relies on a type of shared or cooperative rational inquiry to determine increasingly more adequate opinions, and, consequently, the plausible opinions that ought to be considered. On this "level," we attempt to show that the Platonic technique is more adequate than the Aristotelian procedure. ;Probably the most controversial feature of our method is the employment of regulative endoxic premises. Our final chapter is concerned with further clarification and defense of these premises. We attempt to show that regulative endoxic premises are different from and more adequate than the more objectionable opinions called conventionally moral opinions. We, then, attempt to provide a justifiable account of the differential value, in our method, in the evidential force of regulative endoxic premises and substantive endoxic opinions, and attempt to determine how adequate regulative endoxic premises relative to a specific inquiry can be identified. We argue that these premises provide the conditions necessary for the possibility of successful inquiry within, what I call, the ordinary ethical standpoint, and that the basic presupposition of this standpoint is an acceptable assumption. ;Two alternatives to our position concerning the defense of regulative endoxic premises are considered: They are intuitively self-evident. They are analytic truths based upon an appeal to ordinary usage. is readily seen to be objectionable. is, apparently, the position of Hare. We argue that Hare's position, which maintains that the probative force of regulative endoxic premises is based upon their analytic nature, is quite debatable, and does not, therefore, provide a viable alternative to our position. We also object to Hare's view of his regulative endoxa, viz., universalizability and prescriptivity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image by Mariangela EspositoDoug Al-MainiESPOSITO, Mariangela. The Realm of Mimesis in Plato: Orality, Writing, and the Ontology of the Image. Boston: Brill, 2023. xiv + 173 pp. Cloth, $143.00This manuscript grew out of the author’s original interest in Platonic aesthetics, itself developing into a more particularized examination of Plato’s account of beauty. (...) Plato’s interest in the arts is famously bound up in a broad criticism of their imitative nature; the relation between the original and the imitation, or the eidos and the eidolon, is the core topic of this book. When this binary nature of mimesis is emphasized, it is difficult not to see the two poles as opposed to each other, and indeed there are several passages in the Platonic corpus that tell us directly to value the eidos over the eidolon. “The critique of the arts, in general terms, is based on the assumption that they produce multiple, false, sensorial images (eidola ) that are far removed from the truth, while the truth is a process through which multiplicities are gathered together into an intellectual unity (eidos).” While this duality shows up in the dialogues in numerous ways, Esposito seeks to show a method that transcends it, a method that depends on the experience of [End Page 347] beauty. Beauty is the entity that allows for a transition from the sensual to the intellectual, a point Plato makes in both the Symposium and the Phaedrus, and thereby supports the view that the binary pair of image and original are not so discrete as we might originally believe.Esposito’s analysis of the relation between image and original is made concrete through its application to writing and speech. The book is divided into an introduction, three chapters, and a conclusion that track the progress of our ascent to the eidos, with the first chapter devoted to Plato’s critique of writing, the second to the critique of speech, and the third to an analysis of how beauty facilitates going beyond their opposition. The main sources for the critique of writing are the Phaedrus and the Seventh Letter; Socrates in the Phaedrus explicitly declares writing to be an imitation of speech and the Seventh Letter supports this position. Esposito follows Derrida’s famous essay, Plato’s Pharmacy, stating, “In Derrida’s account of the Phaedrus, this is the main charge against the written word: first, it imitates the original, and then—its second crime—substitutes itself for the original.” The ability of the copy to substitute itself for the original shows a sensitivity on Derrida’s part to the kind of project that Esposito wants to engage in, and indeed a major theme of Derrida’s work was his use of the concept of the pharmakon as something that transgressed a boundary between seemingly discrete opposites; the term pharmakon could refer to either a poison or a cure. But Esposito claims that focusing on the opposition between speech and writing ensures that it will never be overcome, and so this criticism of writing (as an imitation) must be demoted in importance. Esposito therefore ultimately distances herself from Derrida and also spends time taking on the importance of the so-called Unwritten Doctrines, especially as outlined by the Tübingen School. The Tübingen School straightforwardly accepts the criticism of writing in comparison to speech and so develops a theory of unwritten doctrines that Plato would only transfer orally. Given her project of synthesizing the tension between writing and speech, it is unsurprising that Esposito would be hostile to the project of the Tübingen School, “which this work does not consider sustainable.”In the second chapter Esposito moves on to the critique of speech. Here the core of her analysis is given to the Sophist, which provides us with “the best ontological expression of the criticism of image making.” The wider criticism of the Sophist is centered on the observation that appearances are bound up with nonbeing itself; “the biggest challenge posed by the sophist and the main danger of the mimetic mechanism is revealed: both allow the pseudos... (shrink)

El primer capítulo del tratado Sobre lo bello inteligible (Enn. V, 8 <31>) proporciona un importante punto de partida para analizar las relaciones entre las estéticas plotiniana y platónica. Plotino plantea algunas objeciones contra el concepto tradicional de mimēsis que parecen contradecir las teorías de Platón en Resp. X. Tras una relectura de pasajes básicos de los diálogos platónicos (de República a Sofista), el ensayo regresa a las Enéadas y trata de entender las razones del «giro» plotiniano. Palabras clave: Creación; (...) Mímesis; Estética; Platón; PlotinoThe first chapter of the treatise On the intelligible Beautiful (Enn. V, 8 <31>) provides an important starting point to analyse the relations between the Plotinian and Platonic aesthetics. Against the traditional concept of mimēsis, Plotinus raises some objections that seem to contradict the theories of Plato in Resp. X. After a rereading of basic passages of the Platonic dialogues (from Republic to Sophist), the essay comes back to the Enneads and tries to understand the reasons of the Plotinian «turn». Keywords: Creation; Mimesis; Aesthetics; Plato; Plotinus. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 25.1 (2001) 166-169 [Access article in PDF] Book Review Cross-Examining Socrates: A Defense of the Interlocutors in Plato's Early Dialogues Cross-Examining Socrates: A Defense of the Interlocutors in Plato's Early Dialogues, by John Beversluis; xii & 416 pp. Cambridge: Cambridge University Press, 2000, $69.95. This book is more than a cross-examination of Socrates: it is a carefully wrought indictment. Beversluis, unlike Socrates' historical adversaries (...) Anytus and Meletus, brings philosophically serious charges against Socrates by offering a rigorous defense of the interlocutors in Plato's early dialogues, the so-called Socratic dialogues. In so doing, he charts new territory in the vast area of recent analytic scholarship on Plato.According to traditional readings, Socrates deploys his elenchus to defeat his interlocutors, leaving them "either to retreat in anger or to submit to his power." Allegedly, Plato, guided by his Socratic intellectualism, draws them as distinctive, complex characters, though intellectually and thus ethically flawed. Beversluis argues against this standard view, providing sympathetic reassessment of Socrates' interlocutors. Although some previous scholars have defended some of the interlocutors, Beversluis widens the scope of the argument, leveling a scathing attack on Socratic intellectualism and its correlative method of moral education.He deals not only with Socrates' interlocutors and their logical defeats, but also with the idea of an interlocutor, and in so doing casts light on the philosophical dialogue as a genre. This emerges in the first and perhaps most original chapter, entitled "The Socratic Interlocutor," which may be of value to readers interested in philosophical writing or the philosophy of literature more generally. Here he illuminates Plato's use of the interlocutor, in part, by contrasting it with that of other philosophers who wrote in dialogue form, such as Augustine, Anselm, Hume, and Berkeley. The Socratic interlocutors are not, he says, "embodiments of error." Socrates, unlike the protagonists drawn by these other authors, does not subject them to his scrutiny in order to make them accept his beliefs, but rather to reject theirs. Beversluis claims that Plato's portrayal expresses his Socratic belief in the good life as one of bewilderment and uncertainty, a view, Beversluis rightly says, Plato will come to repudiate in his middle dialogues. Beversluis is clearly aware of the disparity between the [End Page 166] discomfort Socrates visits on his interlocutors and that which he is willing to endure himself.While many interpreters forgive Socrates' lapses of logic, Beversluis is unsparing. There is no reason, he thinks, to judge Socrates' arguments by any other criterion than their logical merits, and he therefore rejects the idea that Socrates' most fallacious arguments are valuable for psychological illumination. He also rejects Vlastos's view that only those of Socrates' arguments that are offered "seriously" should be criticized seriously. If they appear to be logical arguments, Beversluis contends, they must be assessed on their logical merits, not their rhetorical or therapeutic virtues. Some might find this approach rather arid until they see that Beversluis is warning the reader not to be dazzled by Socrates as the interlocutors are.It is widely believed that the aim of Socratic elenchus is to uncover the structure of a person's beliefs and to show that it is either internally inconsistent or at best unreflectively constructed. Beversluis's account, however, portrays Socrates as a Svengali who makes people assent to claims they would not otherwise accept. If this is right, Socrates is not actually elucidating the interlocutor's real beliefs. Beversluis challenges the notion of sincere assent, both as an interpretative guide to the early dialogues and as an epistemic concept. He points out that sincere belief is not simply an occurrent interior state accompanying, and indicated by, a verbal act of assent; rather, it emerges from the totality of a person's lived character, from the relation between word and act.Some readers will object to his axiom that a character in a literary work, and thus in a Platonic dialogue, has a life subject to scrutiny outside of the literary work. In his brief... (shrink)

ABSTRACT In this paper, I will offer some examples of the effectiveness of Adorno’s concept of mimesis for an analysis of extreme violence and for a defence of democratic institutions against possible regressions into authoritarian regimes. I will start by reading the concept of mimesis through the lens of the interlacement between the concepts of play and power. My aim is twofold: first, I wish to further the analysis of Adorno’s concept of mimesis by showing that it (...) can be interpreted as a form of play, which either empowers subjectivity or becomes a means of domination; second, I will use these speculations to highlight the relevance of Horkheimer and Adorno’s explanation of anti-Semitic violence when seen through the lens of the concept mimesis. Before concluding, I will briefly highlight Adorno’s ideas about what makes democracy vulnerable to potential regressions into extreme violence, and examine what can be done practically – from an Adornian perspective – to avoid regression: defending democratic institutions, and working towards a removal of those barriers that obstruct genuine mimetic experience and self-reflection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Defense of Poetry: Reflections on the Occasion of WritingJack KolbA Defense of Poetry: Reflections on the Occasion of Writing, by Paul H. Fry; 256 pp. Stanford: Stanford University Press, 1995, $45.00 cloth, $16.95 paper.And the worm turns. It might elicit dubious laughter from those Yale critics who taught Paul Fry, now William Lampson Professor at their institution, by his admission a Berkeley student in the (...) 1960s (and still, clearly, trying to come to terms with the absolutism of his era), to have him (a)rise to the occasion of verse. After all, the question he asks at the outset of his study—“how are we to account for all the poetry, not to mention fiction, not to mention all the criticism... that still gets written?”—seems anathema except to us academic conservatives, those who resent the encroachment of sterile philosophic approaches into literature. And irrelevant to those writers who don’t give a damn about academic criticism. Fry’s reality, and not just his literary reality, here confronts the weight of academia.What is most troublesome to me about this worthy book is the vast prolegomena that seems, alas, de rigueur these days, the critical dross that Fry must apparently spend an inordinate amount of time attempting to placate, dodge, and negotiate. If academic criticism must perform such elaborate obeisance to questionable philosophies of literature, then academic criticism is truly dead. No reason to grieve: it will be replaced by those who seek to understand and relish literature, still informed by the worthy questions of imitation and audience and authorial psychology, and even internal construction that have enticed readers for centuries.Fry is anything but a happy deconstructionist. One senses immediately that he is distinctly discontented with theoretical discourse, that what he really wants to discuss is poetry, and the poetic impulse. And when he does, he does it brilliantly. Indeed, it is only his argument that inhibits him. To oversimplify (an inevitable process in this book), Fry wants to rescue some poetry from the self-destructiveness, as he sees it, of sterile critical approaches—mostly from the neo-historicists, but also from all others who would deny the essential job of poetry to replicate reality. Both human and historical values have got in the way [End Page 522] of this “pure” conveyance. Somehow poetry (unique of the arts) can escape this:It is the function of indication, of saying that something just is (to which until now I have confined my notion of ostension), to estrange utterance from its historical situation by refusing to say that that something is predicated upon, determined by, something else, whether in narrative, description, or explanation....This is the moment, completing the structure of ostension, which reduces the estranged, necessarily “situated” utterance to sound and trace, and thus returns it to the unsignifying sphere of actuality, of things in themselves, from which history for its part is by nature forever estranged. Literature, then, is that mode of utterance which lays bare the irreducible distance between history and actuality from the parti pris of the latter. By suspending our purposeful engagement with the world, it reattaches itself to the world.(pp. 54–55)No single passage can do Fry justice, for his approach is accretive, and fearsomely intelligent (this is one of the few books of contemporary criticism I’ve read in which I felt that the awful vocabulary was merited). Yet, ultimately, Fry’s ontology sounds very much like old-fashioned mimesis; it is the universality of experience, he asserts, that escapes the historicist or the dogmatist or the deconstructionist. At some level poetry is what it is. In fact what Fry seemingly wants is in his terms an obliteration of the mediation of mimesis: his true poetry wants to be reality, or at least as close as we come to it in art.Of course the problem with this definition of poetry is that it is, despite Fry’s twistings and turnings, a definition of poetry. Poetry, as even Plato tells us, is an imitation. So how do we try to get closest to reality? With poetry, Fry suggests; poetry that acknowledges the universal reality... (shrink)

The concept ofmimēsiswas ‘shared by most authors, philosophers and educated audiences in the classical period, in antiquity as a whole, and even later’, although it has probably never been developed into a well-articulated theory. As far as we can judge from the extant evidence, the meaning of the expressions μίμησις and μιμέομαι differs from author to author and sometimes even from passage to passage. Ancient Greek views onmimēsishave often been discussed in modern scholarship, mainly within the field of history of (...) art, and it has been demonstrated repeatedly that the traditional English translation ‘imitation’ is not always appropriate for the ancient texts and that in many contexts it is rather misleading. In the following study I aim to focus on this concept as it was employed in the oldest Greek cosmological and philosophical theories. As a rule, the study of these theories is complicated by their fragmentary state of preservation and by their distortion through the specifically Platonic views that were dominant among the later doxographers. I shall suggest that the Platonizing tendency still prevalent today, which tends to translate and interpretmimēsisas ‘imitation’ or ‘copy’, should be carefully revised in the light of the Hippocratic evidence and specifically in view ofDe victu, probably the oldest authentic, non-fragmentary, and non-Platonic document attesting the concept ofmimēsis. (shrink)

The concept of number is the troublemaker in the history of Platonism. It separated the followers of Plato and Aristotle into two camps for generations. For Plotinus, however, the concept becomes the peacemaker, which reconciles the camps. The importance of this reconciliation is central to Plotinus’ philosophical system because it not only uses Aristotle to defend Plato from Aristotle himself, but establishes Plotinus’ concept of number as the fundamental link between the number theories of the Neopythagoreans and the later Neoplatonists.This (...) book demonstrates that the subject of number should be considered among the most important concepts for understanding Plotinus’ philosophy and therefore deserves greater scholarly attention than it has received. Plotinus adopts and adapts Platonic and Neopythagorean cosmology to place number in the foundation of the intelligible realm and the construction of the universe. Throughout the Enneads and especially in Ennead VI.6, he systematically peels off the layers of mathematical and quantitative perception from the concept of number to reveal that real intelligible number is the primary activity of substance, which orders the unfolding of the universe from its absolute source into a finite multiplicity. (shrink)

: The Republic is notorious for its attack against poetry and the final eviction of the poets from the ideal city. In both Book III and Book X the argument focuses on the concept of mimêsis, frequently rendered as ‘imitation’, which is partly allowed in Book III but unqualifiedly rejected in Book X. However, several ancient authors view Plato’s dialogues as products of mimêsis and Plato as an imitator. Plato himself acknowledges the mimetic character of his enterprise and invites us (...) to compare and contrast his own mimêsis with the imitations of painters and poets. The main issue addressed in this paper is both systematic and historical: just what sort of mimêsis occurs in Plato’s dialogues and, moreover, whether and why, by the criteria that Plato’s Socrates sets out in the Republic, Platonic mimêsis may not be subject to the very same criticisms directed against Homer and the tragedians. There will emerge a radical and systematic contrast between the works of the poets, as they are assessed in the Republic, and Plato’s own writings, as they present themselves to their readers. That contrast appears to be deliberate and suggestive of the view that Plato’s dialogues ought to replace poetry as elements of proper education and civic cohesion. (shrink)

This absorbing study of Plato's criticism of poetry offers a new interpretation based upon central features of both the pre-Platonic conception of poetry and previously neglected features of Plato's various discussions of poetry and the poets. Professor Mitscherling's analysis is unique in that he concentrates on the philosophical significance of Plato's distinction between dramatic and nondramatic sorts of poetry. Mitscherling shows that this distinction proves in fact to be central to the conception of poetry that Plato consistently elaborates throughout (...) his dialogues. Mitscherling also makes a unique contribution by outlining a possible Platonic aesthetics, which draws on current work in phenomenology and hermeneutics in such a way as to promise an entirely new direction for current work in continental aesthetics. The author employs Gadamer's analyses of the ontology of the work of art, in conjunction with a phenomenological analysis of the aesthetic experience, in the construction of a foundation for aesthetics that is consistently Platonic. Mitscherling concludes with the hypothesis that Plato's criticism of poetry did not apply to poetry itself, nor was it directed to art in general or the educational system, or the Sophists. Rather, Plato was specifically against the techn? of mim'sis, that is, the technique of persuading by appearing to be what one is not, or by merely appearing to speak the truth. (shrink)

This article challenges the long-standing belief that Plato is an early proponent of the division of labor on account of the political proposals advanced in the Republic. In contrast, I contend that the Republic offers a radical critique—rather than any endorsement—of job specialization and its accompanying psychological orientation toward acquisitiveness. The article begins with a methodological section that attempts to explain the origin of the common misreading of Plato's works and forwards an interpretive framework for situating arguments raised in the (...) Platonic dialogues in their dramatic and dialogic contexts. Having established these hermeneutic principles, the article proceeds to analyze the shifting significance of job specialization within the imaginary cities that are considered in the Republic and concludes that the dialogue ultimately critiques job specialization insofar as it prevents individuals from harmonizing their souls and hinders their ability to philosophize. (shrink)

Plato's dialogues stand at a transition from orality to literacy. They are living contradictions-partly oral and partly literary. This relationship between orality and writing is one of the most vexed issues in the history of Platonic interpretation and has particular relevance for the progressive erosion of literacy in favour of digitalisation today. This book argues that the relationship between the oral and the written in Plato's dialogues is not a straightforward opposition, but is instead grounded in ontological analysis and (...) exemplified by the ontology of the image, which appears throughout the Platonic canon. (shrink)

This paper deals with a development of the ancient thought on mimesis in its modern reception as regards a certain idea of theatre. It defends the hypothesis that the figure of the character, as set up in Diderot’s Paradoxe sur le comédien, has its source in a curious reversal of the Platonic mimesis. After presenting the main tenets of Plato’s reflection on mimesis and of Diderot’s theory on character, showing their convergences and contrasts, it is analyzed (...) how such a conceptual turnaround has historically taken place, by establishing a chain of reception from Plato to Diderot passing through Cicero and the Renaissance artists. (shrink)

It is widely believed that a person's traits can function as reasons for loving her. Notable contemporary work in the philosophy of love has taken the rejection of this premise as its point of departure. As far as I can tell, none of that work has engaged with a careful philosophical exposition of the view under discussion. In the following pages, I will defend the idea of trait-based love against three of its critics and one of its advocates. I will (...) discuss work on this topic by Harry Frankfurt, Niko Kolodny and David Velleman, arguing that their criticisms fail and that the alternatives they offer to trait-based love create more difficulties than they solve. What these authors have in common is a deflationary approach to love that reduces it to a beneficent disposition, a valuing relationship and a visceral form of moral regard, respectively. I will compare these to the multiplex, nuanced depiction of trait-based love in Plato's Symposium. While it is plausible that love can motivate a beneficent disposition, develop in relationships and entails moral regard, I will argue that the attempt to reduce it to any of the foregoing fails. Frankfurt, Kolodny and Velleman reject trait-based love in part because they think it would differ in unacceptable ways from the love most of us practice. Plato advocates the cultivation of a love that in some respects resembles the picture of trait-based love the contemporary authors balk at. However, unlike those critics, he appreciates that trait-based love need not resemble the ideal he proposes. His richer view of love accounts for elements such as need and feeling that the contemporary thinkers are driven to implausibly bracket as distractions. As I will try to show, the most compelling criticisms of Platonic love do not tell against its responsiveness to the loved one's traits. I will argue that trait-based love is consistent with an intuitive picture of love and that this commonsense approach is more defensible than competing views in these texts. These authors' disagreements about what can count as reasons for love are bound up with the differences in what each takes love to be. Thus, in the course of arguing for trait-based love, I will critically assess their various proposals as to the nature of love. (shrink)

We have conflicting pre-philosophical intuitions about what it means ‘to be true to ourselves.’ On the one hand, autonomy and authenticity seem closely connected to the lucidity of reflectiveness; on the other, they seem tightly interwoven with the immediacy of unreflectiveness. As opposed to a ‘Platonic’ intuition about the inferiority of the unexamined life, we have an equally strong ‘Nietzschean’ intuition about the corrosiveness of the examined life. Broadly speaking, the first intuition is more akin to the tradition of (...) the Enlightenment, and the second, more to that of Romanticism; the one is reminiscent of Descartes and Hume, the other of Rousseau and Herder.The use of the technical term ‘autonomy’ and the concomitant term ‘self’ is primarily limited to philosophy, while in daily life ‘freedom’ and ‘person,’ respectively, are used instead. Unfortunately, in their deployment of these technical terms philosophers have generally failed to acknowledge the two modes of ‘being true to ourselves’ associated with the Enlightenment and Romanticism, for they usually employ the concept of autonomy in a unitary way. (shrink)

RESUMEN Largamente desatendida o malinterpretada, la noción de caos en la filosofía de Nietzsche es una pieza constitutiva de la particular concepción del ser que este autor habría dejado apenas esbozada. El artículo se propone elaborar este concepto en la obra nietzscheana, siguiendo algunas de las metáforas que lo iluminan. Desde allí se busca plantear los rasgos centrales de una ontologia del caos, de sesgo no metafísico, que, al afirmar el carácter acontecimental de la realidad, puede verse como precursora de (...) la ontología hermenéutica contemporánea. ABSTRACT The notion of chaos, which has long been neglected or misinterpreted, is a constitutive element of a peculiar conception of being that the philosopher only had time to outline. The objective of this article is to elaborate on this concept in Nietzschean philosophy, guided by some of the metaphors that shed light on it. This serves as the basis to set forth the main characteristics of a non-metaphysical ontology of chaos that asserts the eventful nature of reality and can thus be seen as a precursor of contemporary hermeneutic ontology. (shrink)

I come not to clarify Aristotle’s defence of the principle of non-contradiction, but to put it in its proper context. I argue that remarks in Metaphysics IV.3 together with the argument of IV.4, 1006a11-31 show that Aristotle practises Plato’s method of dialectic in his defence of PNC. I mean this in the strong sense that he uses the very methodology described in the middle books of the Republic and, I claim, illustrated in such dialogues as Parmenides, Sophist and Theaetetus.

A two-fold study, on the one hand of the thought-provoking mimesis by which Plato gives his hearer an occasion for self-knowledge and self-transcendence and of the typical sequential structure, an appropriation of the trajectory of the poem of Parmenides, by which Plato orders the drama of inquiry, and on the other hand a commentary on the Crito that aims to show concretely how these elements — mimesis and Parmenidean structure — work together to give the dialogues their exceptional (...) elicitative power. (shrink)

The article proposes an integrated analysis of the anthropological conception developed by Plato in the dialogue Symposium and in book IV of Republic, in which the philosopher proclaims desire as an original dýnamis of human nature, which acts as a vital and determinant impulse in the human psyche. This approach not only deepens our understanding of the internal dynamics and fundamental motivations of the human being, but also aligns with the defense of an autoeroticism of the human soul.

Describes a Platonic personal spirituality based on reason that is readily accessible to people today. presents an important and accessible aspect of Plato’s legacy largely overlooked today: a variety of personal spirituality based on reason and centered on virtue. Plato’s Virtue-Forms are transcendent in their goodness, ideals that Platonists can use to improve character and become like God so far as is humanly possible. constructs a model of inductive Socratic reasoning capable of acquiring knowledge of these perfect Virtue-Forms, then (...) scales back claims about these Forms to what can be supported by this kind of reasoning. This is a critical theory, but also a pluralistic one that accommodates modern cultural diversity. A how-to chapter provides detailed descriptions of the rules of Socratic reasoning basic to this spirituality, which any interested individual can practice today. supports this interpretation by a close reading of the Greek text of key passages in Plato’s dialogues. also undertakes a broader philosophical consideration, discussing the philosophical foundations proposed for this Platonism in relation to the thought of G. E. Moore, Ludwig Wittgenstein, Martin Heidegger, Friedrich Nietzsche, and Richard Rorty. (shrink)

In this paper, I defend that the historiographical category of eclecticism is a correct way to describe the epistemology and the exegetical activity of the Anonymous commentator on Plato’s Theaetetus. In addition, I show that the interpretation of the platonic philosophy presented in this text not only presupposes an eclectic philosophical attitude, but also offers a conscious defense of a positive and philosophically relevant form of eclecticism. By eclecticism, I understand a method of inquiry based on the deliberate (...) use of hypotheses and arguments from different philosophical traditions. My claim is that Anon. intends to lay ground of his way of doing philosophy by attributing it to Plato and the platonic tradition. In doing so, Anon. provides us with a positive understanding of eclecticism as a legitimate methodology of philosophical investigation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cancel Culture and the Trope of the ScapegoatA Girardian Defense of the Importance of Contemplative ReadingJoakim Wrethed (bio)What unfolds in this article encompasses violence, language/reading, and ethics. René Girard addresses these topics primarily in terms of mimesis, its potential violence, and the trope of the scapegoat. Still, toward the end of his career and life, he relentlessly pointed out the dangers implicated in the dynamism of these (...) forces. He addressed it clearly in his "apocalyptic book" Battling to the End (2010):I have been accused of repeating myself too often, of turning my theory into a fetish, of using it to explain everything. Yet it has described mechanisms that recent discoveries in neuroscience confirm: imitation is the initial and essential means of learning; it is not something acquired later on. We can escape mimetism only by understanding the laws that govern it. Only by understanding the dangers of imitation can we conceive of authentic identification with the Other. However, we are becoming aware of the primacy of moral relationship at the very time when the atomization of humanity is being realized, and when violence has increased in intensity and unpredictability.1[End Page 15] It is this thin line between necessary/harmless imitation and its dangerous versions that will be the central theme in the analysis. As Girard states, a vast amount of established research confirms that the mimetic impulse is innate.2 We should pay specific attention to "the atomization of humanity," since it zooms in on our contemporary epoch's paradoxical "mass-individualism," evidently tremendously enhanced by information and communication technology (ICT). In order to contribute to Girard's lifework and to extend it beyond his own writing, we outline a few contemporary phenomena that clearly exhibit the primordial dangers of human violence that Girard draws attention to. These phenomena are initially only roughly sketched, but subsequent sections give them sharper relief. The central phenomena are cancel culture, speed, and the reading of literature. Just to be clear, the intended mode of reading should be construed in a broad sense, thus potentially including philosophy and theology, if one is inclined to emphasize the differences between these disciplines and the reading of literature.3Cancel culture in certain ways makes manifest a social welfare society version of escalating violence, indicating that "violence has increased in intensity and unpredictability."4 A succinct definition of cancel culture will initially suffice:Cancel culture refers to ending (or attempting to end) an individual's career or prominence to hold them accountable for immoral behavior. Driven primarily by young progressives, often through social media, cancel culture has attracted controversy since it swept into the national conversation.5This definition can easily be extended into larger historical patterns in which, for instance, colonial crimes are highlighted and demands are raised for contemporary acts of atonement. As Rob Henderson points out, the obvious flip side is that "the swift and decisive nature of cancel culture can stifle debate, and some believe that dialogue is a more productive way to foster change."6 The "swiftness" and the immediate collectable consequences are decisive in their functions as social punishment and exclusion; in other words, digitalized speed accomplishes verdict and punishment in a very short time span, which is a reflection of desire pure and simple. The rapidity from intention to anticipated effect rather resembles an instinctive and violent action more than the forwarding of a carefully thought through argument or statement. The present becomes an invincible ivory tower bristling with power to finally mete out the justice that the erroneous ethics of earlier times were incapable of conceiving and achieving. An always already accelerating modernity speeded up immensely through [End Page 16] the fast growth of information and communication technology (ICT). To be sure, the whole evolution of computer technology is defined primarily in terms of processing speed, together with the quantity of information that can be contained in as small a spatial entity as possible. The present-day reality of having almost everything only one or a few clicks away on a screen—as a modern day realization of the library in Alexandria—enhances the relevance of a phenomenon historians have referred to... (shrink)

I defend Gary Watson's Platonic Model of free agency against two arguments by counterexample, one by J. David Velleman and the other by Michael Bratman. I claim that these arguments are unconvincing for three reasons. First, they do not accurately target the Platonic Model. Second, they do not convincingly present cases of self-governed action. Third, they call attention to issues about theoretical commitments that are not fit to be settled by appeal to cases. On the basis of this (...) discussion, I draw some general lessons for the debate about which theory of self-governance is the best. (shrink)

En República, libro X, Platón justifica su exclusión de la poesía imitativa mediante argumentos metafísicos y psicológicos. Al hacerlo, enfatiza la distancia de los productos de la imitación respecto de la verdad, y los condena porque apelan al elemento inferior del alma. En Sofista 233d- 236c, se propone una crítica similar contra la sofistería. El imitador puede hacer eidola, que puede ser considerado como real por un ignorante. En ambos casos Platón se refiere a la distancia respecto de la verdad (...) que guardan tanto los objetos hechos por los imitadores –pintores, poetas o sofistas– como los destinatarios de tales artes –espectadores u oyentes–. Los paralelismos entre ambos tratamientos son abundantes. Tal «distancia», como tratamos de mostrar, ofrece una clave no sólo para entender la crítica platónica de la mímesis, sino que también arroja luz sobre algunos pasajes de República cuya conexión con el tratamiento de la imitación no es evidente de inmediato: la sección eikasía de la «línea dividida», así como ciertos pasajes de la alegoría de la caverna. Ambos textos, independientemente de las variadas lecturas e interpretaciones que han merecido, aclaran la naturaleza de la mimesis y las críticas de Platón contra ella. Además, testifican la confianza de Platón en que el contacto directo con lo real neutraliza los efectos perniciosos de la imitación Palabras clave: Mímesis; Verdad; DistanciaIn Republic Book X, Plato justifies his exclusion of imitative poetry by means of metaphysical and psychological arguments. In doing that, he emphasizes the distance from truth of the products of imitation, and condemns them because they appeal to the lower element of the soul. In Sophist 233d-236c, a similar critique is directed against sophistry. The imitator can make eidola, which can be taken by an ignorant as being real. In both cases Plato refers to the distance that both the objects made by imitators –painters, poets or sophists– and the recipients of such arts –spectators or auditors– have from truth. The parallelisms between both treatments are abundant. Such «distance», as we try to show, offers a key not only to understand Platonic criticism of mimesis. It also throws light on some passages of Republic whose connection with the treatment of imitation is not immediately evident: the eikasía section of the «divided line», and certain passages of the allegory of the cave. Both texts, independently of the various readings and interpretations they have deserved, clarify the nature of mimesis and Plato’s criticisms against it. In addition, they testify Plato’s confidence that direct contact with the real neutralizes the pernicious effects of imitation. Keywords: Mimesis; Truth; Distance. (shrink)

In Essay Six of his Commentary on Plato's Republic, the Platonist Proclus offers a defence of the poetry of Homer and attempts to harmonize the Homeric epics, as inspired texts, with the philosophy of Plato as he interprets it. The tendency of late antique Platonists to turn to allegorical reading is well known, but in this instance Proclus interprets Achilles by other means. In particular, he is careful to place Achilles’ actions relative to what he sees as the correct position (...) in the scale of virtues (at the level of the political virtues). In some further remarkable passages Proclus sees Achilles’ ritual activities as a kind of prefiguration of the theurgic practices embraced by the Platonic school of Proclus’ era. (shrink)

In this reading of Thus Spoke Zarathustra, I attempt to account for the gradual transformation of Zarathustra’s politics and pedagogy in light of his confrontation with a Platonic understanding of imitation. I argue that the provisional teaching of the overman is abandoned in the second half of the text because it fails to teach others to become who they are. It only produces bad imitations of Zarathustra himself. I read the thought of the eternal recurrence, however, as Zarathustra’s overcoming (...) of his residual Platonic pedagogy since it challenges the mimetic relationship between master and disciple that Zarathustra originally cultivates but ultimately disavows.Dans cette présente lecture d’Ainsi parlait Zarathoustra, je tente de rendre compte de la transformation graduelle de la politique et de la pédagogie de Zarathoustra à la lumière de sa confrontation à la comprehension platonicienne de l’imitation. Je soutiens que l’enseignement provisoire du surhomme est abandonné dans la seconde partie du texte parce qu’il ne parvient pas à enseigner aux autres àdevenir ce qu’ils sont. Il ne fait que produire des imitations de Zarathoustra lui-même. Par eontre, je comprends la pensée de l’eternel retour comme le dépassement de sa pédagogie platonicienne résiduelle, puisque cette pensée s’oppose à la relation mimétique entre le maître et le disciple que Zarathoustra cultive au départ, mais désavoue à la fin. (shrink)

Some years ago I started to write a book on virtue ethics, in which I tried to meet early criticisms of what was then a new way of doing ethics. The book continued to be unsatisfactory, and I finally abandoned it, realizing that I needed to get clear about virtue before producing a defence of virtue ethics. This need should have been obvious, especially since I frequently teach Platonic dialogues where Socrates gets people to see that they are doing (...) what I was doing, namely developing ideas about something without first examining what it is. The need became even more obvious as the field rapidly expanded with the production of Humean, Nietschean, Kantian and consequentialist kinds of virtue ethics. Within the field of neo-Aristotelian ethics itself it became clear that different aspects can be stressed: the importance of practical wisdom can be developed, for example, without defending a naturalistic account of the relation of virtue to happiness.I finally wrote a book to explore and d .. (shrink)