Plato and Other Philosophers

This chapter investigates the precise ways in which Antonio Gramsci engaged with ancient philosophy. A brief examination of the longest discussion in the Prison Notebooks of any ancient philosopher or text, Plato’s Republic (Q8, §22), raises many questions about Gramsci’s approach to ancient philosophy. These questions motivate an investigation into Gramsci’s surprisingly minimal discussion of ancient philosophy and philosophers, which is best explained in the light of his theoretical commitments to his distinctive species of historical materialism. Rather than responding to (...) specific critical insights advanced about politics or human nature by ancient philosophers, such as Plato and Aristotle, Gramsci is shown to appropriate ancient philosophy into a broad-spectrum project of the history of philosophy, which interrogates the specific conditions under which historical epochs and the philosophical ideas that characterise them emerge. Tracking the conditions and characteristic ideas is revealed to be the project of the ‘specialist philosopher’, who must grasp both general methodological principles and particular historical examples. Gramsci’s treatment of ancient philosophy reveals more about his universal theories of history, and his engagement with the ideas of his contemporaries (including Benedetto Croce), than a special concern with ancient philosophy itself. (shrink)

In this article I seek to come to some understanding of the interlocutors in the first book of Plato’s Republic, particularly Cephalus. A more complete view of Cephalus not only provides some interesting ways to think about Plato and the Republic, but also suggests an interesting alternative to Plato’s view of justice. The article will progress as follows: First, I discuss Plato’s allegory of the cave. I, then, critique the cave allegory by applying the same kind of reasoning that O. (...) K. Bouwsma used to criticize Descartes’ evil genius. Next, I present what I think is a fruitful way to understand Cephalus. Finally, I draw some important conclusions regarding justice and offer some interesting critiques of Plato and Platonism. (shrink)

This article re-exams the old tension between the philosopher and the city. Reading Ibn Bājja’s Governance of the Solitary and Nietzsche’s Thus Spoke Zarathustra against the background of Plato’s Republic, I argue that they both embrace several key aspects of Platonic political philosophy: the assumption that philosophical natures can grow spontaneously in sick cities, the ideal of the philosopher legislator and the correlative project of founding a virtuous new regime. Yet in preparation for this final task, each prescribes a regimen (...) of solitude for philosophers, so that they might preserve their own health and autonomy. While this spiritual exercise at first appears merely temporary and provisional—aimed at the cultivation of a philosopher ruler and the eventual establishment of a healthy political regime —I argue that both Ibn Bājja and Zarathustra ultimately abandon their Platonic ambitions and opt instead for the apolitical contemplative life. (shrink)

In 1889, the German philologist Friedrich Blass isolated a section of Chapter 20 from Iamblichus’ Exhortation to Philosophy (mid- or late 3rd Century CE) as an extract from a lost sophistic or philosophical treatise from the late 5th Century BCE. In this article, I introduce the text, which is now known as 'Anonymus Iamblichi' (or 'the anonymous work preserved in Iamblichus') by appeal to its two main contexts (source preservation and original historical composition), translate and discuss all eight surviving fragments (...) in their entirety, and provide some closing remarks about its importance to this history of democratic thought. The text itself presents a series of very carefully interwoven arguments concerning the three “parts” of excellence (ἀρετή) – wisdom, courage, and eloquence – and their successful application in society. In the course of presenting this case, Anonymus Iamblichi comments on the conditions under which one should learn to be excellent (Fragments 1-2) and the ends to which one should direct one’s excellence (Fragments 3-4); he provides an anthropological discussion of the weaknesses of human psychology and its effects on the good man (Fragments 5-6) and an hypothetical thought experiment concerning the “Superman” (which naturally solicits comparison with Nietzsche’s übermensch) and his inability to overcome the multitude in a lawless state (Fragments 6 and 8); and a positive defense of law and justice, reflecting a pro-democratic philosophical perspective (Fragments 7-8) – a rara avis indeed in ancient philosophy. (shrink)

In this paper, I propose a new reading of Phaedo 99b6-d2. My main thesis is that in 99c6-9, Socrates does not refer to the teleological αἰτία but to the αἰτία that will be provided by a stronger ‘Atlas’ (99c4-5). This means that the passage offers no evidence that Socrates abandons teleology or modifies his views about it. He acknowledges, instead, that he could not find or learn any αἰτία stronger than the teleological one. This, I suggest, allows an interpretation of (...) the Phaedo in which Socrates offers a consistent account of the αἰτία of generation and destruction. (shrink)

Athenaeus of Attalia distinguishes two types of exercise or training (γυμνασία) that are required at each stage of life: training of the body and training of the soul. He says that training of the body includes activities like physical exercises, eating, drinking, bathing and sleep. Training of the soul, on the other hand, consists of thinking, education, and emotional regulation (in other words, 'philosophy'). The notion of 'training of the soul' and the contrast between 'bodily' and 'psychic' exercise is common (...) in the Academic and Stoic traditions Athenaeus is drawing from; however, he is the earliest extant medical author to distinguish these kinds of training and to treat them as equally important aspects of regimen. In this paper, I propose some reasons why he found this distinction useful, and I examine how he justified incorporating it into his writings on regimen, namely by attributing Plato's beliefs about regimen to Hippocrates, a strategy Galen would adopt well over a century later. (shrink)

At 252e1 to 253c9 in Plato’s Sophist, the Eleatic Visitor explains why philosophy is a science. Like the art of grammar, philosophical knowledge corresponds to a generic structure of discrete kinds and is acquired by systematic analysis of how these kinds intermingle. In the literature, the Visitor’s science is either understood as an expression of a mature and authentic platonic metaphysics, or as a sophisticated illusion staged to illustrate the seductive lure of sophistic deception. By showing how the Visitor’s account (...) of the science of philosophy is just as comprehensive, phantasmatic and self-concealing as the art of sophistry identified at the dialogue’s outset, this paper argues in favor of the latter view. (shrink)

This article is the first to bring into scientific discussion and to provide a historico-philosophical analysis of a manuscript “Neoplatonic Philosophy from the archive of Pamfil Danylovych Yurkevych (1826–1874). The reviewed manuscript belongs to P. D. Yurkevych’s handwritten nachlass stored in the funds of the Institute of Manuscript of V. I. Vernadsky National Library of Ukraine in the city of Kyiv. Additional archival materials (in particular, programs of P. D. Yurkevych’s lectures that took place in 1850s – beginning of 1860s (...) in Kyiv Theological Academy) are involved to answer several research questions. The author of this article provides arguments in favor of proving that the manuscript is to be attributed to P. D. Yurkevych’s own handwriting, to be dated circa 1856, and that the purposing of its content is to be qualified as didactic. As it is established in the article, textual content of the manuscript in question is an original concise description and analysis of neoplatonic philosophy, which belongs to the set of materials created by P. D. Yurkevych in preparation for teaching the course on Ancient Philosophy in Kyiv Theological Academy during Kyivan period of his work. Turning to the inner critique of the manuscript, author of this article emphasizes an analysis that P. D. Yurkevych conducts concerning Plotinus’s ideas of the process of emanation of the world from the One and the role that philosophy has in true cognition. While comparing the manuscript “Neoplatonic Philosophy” with one of P. D. Yurkevych’s substantial philosophical works “Idea” (1859), additional light is shed upon the prosess of genesis and development of Christian-Platonic worldview of the thinker. Furthermore, it is established that the manuscript in question played a major role in P. D. Yurkevych’s own schooling, particulary concerning his view on the philosophy of Plotinus, and his general reception of the Platonic tradition. (shrink)

A quotation from the early Platonic dialogue Hippias Major is used as an epigraph to Concluding Unscientific Postscript. Apart from this paratextual (and liminal) presence of the Platonic text, “the Hippias as an introduction to the beautiful” could serve, according to Climacus’ words, “as a kind of analogy to an introduction such as that” his own book aims to be; that is, an introduction which will throw light “on what Christianity is” but make “it difficult to become a Christian”. The (...) aim of the present paper is to investigate whether the above claim of Climacus could be attested in the Postscript and how the Platonic dialogue helps him reiterate a “new approach” to the problem of the Crumbs and orient his reader to the particularity of the Crumbs’ crumb philosophy. (shrink)

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

Early in his career, Karl Marx complained that “Philosophers have hitherto only interpreted the world in various ways; the point is to change it.” Philosophers Robert Frodeman and Adam Briggle have recently issued this same complaint against their contemporaries, arguing that philosophy has become an isolated, “purified” discipline, detached from its historical commitments to virtue and to public engagement. In this paper I argue that they are wrong about contemporary philosophy and about its history. Philosophy hitherto has always been characterized (...) both by a concern with practical engagement and by serious misgivings about such engagement. I show that reluctance to engage with practical affairs was a feature of philosophy long before the advent of the modern university and that a wide range of contemporary philosophers are concerned with virtue and public engagement. Finally, I argue that Frodeman and Briggle’s own account of contemporary philosophy makes it unsuitable both as the subject of their title (“When Philosophy Lost Its Way”) and as the object of their call to action. (shrink)

What distinguishes the Socrates of the early from the Socrates of the middle dialogues? According to a well-known opinion, the “dividing line” lies in the difference between the Socratic and the Platonic theory of action. Whereas for the Platonic Socrates of the early dialogues, all desires are good-dependent, for the Platonic Socrates of the middle dialogues, there are good-independent desires. The paper argues first that this “dividing line” is blurred in the "Symposium", and second that we have in the "Symposium" (...) a more distinctive dividing line, namely the introduction of the separate existence of the idea of beauty. This introduction by Diotima/Plato of separate ideas and the lack of understanding of separate ideas – here the idea of beauty – by Socrates may have been the limit not only of the Socrates of the early Platonic dialogues, but of the historical Socrates as well. (shrink)

El hombre actual como dios. Textos de Platón, Lactancio, Malebranche... ISBN 978 84 686 6212 1 Published by Bubok Publishing S.L., 2015.

Book review of Mark Anderson's 'Plato and Nietzsche: Their Philosophical Art' for Pli, the Warwick Journal of Philosophy.

Although St. Albert the Great is known for his assimilation of Aristotle’s thought, he holds Plato in high regard. Yet Aristotle largely guides Albert’s understanding of Plato and Aristotelian criticism against him is repeated along Albert’s work. The objections raised in the first book of the Metaphysics are especially recurrent. Therefore to study Albert’s commentary on such objections in some detail, as we do in these pages, has considerable interest. Criticism against Plato focuses on his conception of the universal and (...) the separation of ideas. Moreover, Albert assimilates several platonic doctrines because, like many other Christian authors, he sees in the Timaeus a metaphysical approach, which is susceptible to be combined with his faith. Albert also believes to find a substantial agreement between the views of Plato and Aristotle at various points, including the question of form, despite differences in their expositions. (shrink)

Starting from the importance of the figure of the parrhesiastes — the political and therapeutic truth- teller— for Foucault’s understanding of the care of the self, this paper traces the political figuration of the analogy between philosophers and physicians on the one hand, and rhetors and disease on the other in Plato’s Gorgias. I show how rhetoric, in the form of ventriloquism, infects the text itself, and then ask how we account for the effect of the “ contaminated ” philosophical (...) dialogue on our readerly health. Is the text placebo, vaccine, or virus? All of these options, I argue, complicate Foucault’s prescription for parrhesia, requiring us to think anew the continuing political ramifications of the metaphor of care. (shrink)

Two seemingly opposing philosophies, Plato’s and Heidegger’s, are brought together by reading the philosophy of politics in the Republic through the existential-analytic lenses of Being and Time and also by using the former in order to explore the philosophico-political potential of the latter. Plato’s thematic of errancy (αμαρτία) is shown to interlock harmoniously with Ηeidegger’s thematic of the fall (Verfall). This provides a single, penetrating interpretation of how philosophy thinks humans are supposed to respond to the predicament of their original (...) condition (painfulness connected with injustice, meaninglessness, etc.). It turns out that in these otherwise antipodean versions of philosophizing, the view emerges, according to which the original difficulty can be fully overcome. The question whether the aforementioned predicament can be actually fully overcome (or rather not) however, would form the basis for a novel phenomenology of the political. (shrink)

Phenomenological reduction as a philosophical conversion (periagoge) -/- Während Husserl in den Ideen I die Reduktion als eine neue „Methode“ des Denkens, d. h. als eine „epistemologische“ Reduktion versteht, schlägt Scheler eine Reduktion als eine „Tèchne“ der Umbildung vor, durch die der Mensch seiner exzentrischen Stellung in der Welt Gestalt zu geben sucht. Mich interessiert an diesem Zitat vor allem der Gebrauch des griechischen Terminus „Tèchne“. Was Scheler damit bezeichnet, hat offensichtlich nichts mit dem zu tun, was wir heute unter (...) dem Begriff der Technik verstehen. Er spricht eben von einer Kunst „des inneren Handelns“. Meines Erachtens verweist Scheler durch diesen griechischen Begriff auf Platons Gedanken. Für diese These kann man sich bereits auf eine Stelle aus der mittleren Phase im Denken Schelers stützen, in der er nämlich die phänomenologische Reduktion als den moralischen Akt darstellt, dem der „platonische Aufschwung“ (Vom Wesen der Philosophie, GW V, 67) zugrunde liegt. Es ist nun geradezu dieser „platonische Aufschwung“, der im Nachlass ausdrücklich als eine „Tèchne“ (Nachlass, GW XI, 118) beschrieben wird. Was heißt nun in diesem Kontext tèchne bei Platon? Schelers Gebrauch des griechischen Terminus tèchne für die Bezeichnung der phänomenologischen Reduktion erinnert sehr an die tèchne tês periagogês im Höhlengleichnis Platons, durch die die Gefangenen aus der Höhle hinausgehen können. Diese tèchne versteht Platon als einen Bildungsprozess des Menschen; er lernt dadurch, seinen Blick auf das Gute hin zu lenken, damit seine Seinsweise in der Welt zurechtgerückt werden könne. Es geht also um eine conversio oder Umkehrung der eigenen Positionalität in der Welt, die den Übergang vom Leben zum guten Leben zustande bringen kann. Diese tèchne ist grundlegend für das Verständnis der paideía bei Platon, die sich nicht mit einer bloßen Übertragung von Informationen begnügt, sondern vielmehr nach einer periagogé (Umkehrung) der ganzen Seele strebt. Es muss also – wie Sokrates sagt – eine besondere „Kunst der Umkehrung [tèchne tês periagogês]“ geben, die lehrt, auf welche Weise am leichtesten und wirksamsten die Seele umgewendet werden kann, und zwar unter Berücksichtigung dessen, dass sie bereits sehen kann, aber es alleine nicht schafft, das Gesicht zu wenden, „wohin es solle“ (Politeia, VII, 518 d). (shrink)

Whereas the entrance of the monochrome into modern art has typically been understood in light of movements in contemporary art and aesthetic theory following in its wake, this essay seeks to understand the motivations for, and the effect of, the monochrome in the work of Aleksandr Rodchenko in 1921 in reference to Plato's analysis of pure pleasure and absolute beauty in the Philebus . I argue that Rodchenko and Plato were motivated by a shared project to contend with the aesthetic (...) and psychological effects of figurative semblance, or what Socrates calls the phantasm, in order to harmonize human perception with the world of sensuous material objects. It is in this shared project, I contend, that Rodchenko's strategy is to be understood as a kind of materialist Platonism that, when viewed phenomenologically, reveals Plato's objects of absolute beauty to be, in the context of industrial capitalism and the crisis of perception that Benjamin, among others, saw as its consequence, sites of loss and meaninglessness for modern consciousness, yet sites which nonetheless contain emancipatory potential for a social order that has been systematically alienated from itself and its environment. (shrink)

Dmitri Nikulin extends his earlier study of oral dialogue (On Dialogue [Lexington, 2006]) to an investigation of dialectic, moving from a narrative of its development in Plato and the history of philosophy (ch.s 1-3) through a renewed phenomenological account of oral dialogue (ch.s 4-5) to a critique, from the perspective of oral dialogue, of the limitations of written dialectic (ch. 6). I take up some of the provocations of his bold and open-ended argument. Does his own “writing against writing” constitute (...) a performative contradiction, and if so, does this attest his critique of the limitations of dialectic or exhibit, in the elicitative force of its irony, the transcending of these limitations? How, if at all, may we reconcile Nikulin’s radical claim that oral dialogue is the very mode of being human with the drive of the turn to written dialectic to understand being itself and its relation to being human? Just insofar as the virtues distinctive of written dialectic — above all, precision, systematic elaboration, and universality — move the philosopher to suspend oral dialogue in its essential attention to a particular other and to the “who” that one emerges as for this other, may this very suspension also constitute a phase within ongoing oral dialogue? Are the last words of the “(Dialectical) Conclusion” with which Nikulin paradoxically closes his critique of dialectic really just the opening words of a conversation that the attentive reader’s very being will move him to pursue? (shrink)

Dmitri Nikulin extends his earlier study of oral dialogue (On Dialogue [Lexington, 2006]) to an investigation of dialectic, moving from a narrative of its development in Plato and the history of philosophy (ch.s 1-3) through a renewed phenomenological account of oral dialogue (ch.s 4-5) to a critique, from the perspective of oral dialogue, of the limitations of written dialectic (ch. 6). I take up some of the provocations of his bold and open-ended argument. Does his own “writing against writing” constitute (...) a performative contradiction, and if so, does this attest his critique of the limitations of dialectic or exhibit, in the elicitative force of its irony, the transcending of these limitations? How, if at all, may we reconcile Nikulin’s radical claim that oral dialogue is the very mode of being human with the drive of the turn to written dialectic to understand being itself and its relation to being human? Just insofar as the virtues distinctive of written dialectic — above all, precision, systematic elaboration, and universality — move the philosopher to suspend oral dialogue in its essential attention to a particular other and to the “who” that one emerges as for this other, may this very suspension also constitute a phase within ongoing oral dialogue? Are the last words of the “(Dialectical) Conclusion” with which Nikulin paradoxically closes his critique of dialectic really just the opening words of a conversation that the attentive reader’s very being moves him to pursue? (shrink)

Plato articulates a deep perplexity about inquiry in ?Meno's Paradox??the claim that one can inquire neither into what one knows, nor into what one does not know. Although some commentators have wrestled with the paradox itself, many suppose that the paradox of inquiry is special to Plato, arising from peculiarities of the Socratic elenchus or of Platonic epistemology. But there is nothing peculiarly Platonic in this puzzle. For it arises, too, in classical Indian philosophical discussions, where it is formulated with (...) great clarity, and analysed in a way that casts it in a new light. We present three treatments of the puzzle in Indian philosophy, as a way of refining and sharpening our understanding of the paradox, before turning to the most radical of the Indian philosophers to tackle it. The Indian philosophers who are optimistic that the paradox can be resolved appeal to the existence of prior beliefs, and to the resources embedded in language to explain how we can investigate, and so move from ignorance to knowledge. Highlighting this structural feature of inquiry, however, allows the pessimist philosopher to demonstrate that the paradox stands. The incoherence of inquiry is rooted in the very idea of aiming our desires at the unknown. Asking questions and giving answers rests on referential intentions targeting objects in a region of epistemic darkness, and so our ?inquiry sceptic? also finds structurally similar forms of incoherence in the pragmatics of interrogative discourse. (shrink)

Plato's 'Symposium': Kierkegaard and Platonic Eros.

Surveys the ideals of friendship in ancient Greco-Roman philosophy. The notion of the best friendship inevitably reflects the various conceptions of a good life.

Immediately upon the death of Plato in 347 BCE, philosophers in the Academy began to circulate stories involving his encounters with wisdom practitioners from Persia. This article examines the history of Greek perceptions of Persian wisdom and argues that the presence of foreign wisdom practitioners in the history of Greek philosophy has been undervalued since Diogenes Laertius.

A review of Carl Huffman's new edition of the fragments of Archytas of Tarentum. Praises the extensive commentary on four fragments, but argues that at least two dubious works not included in the edition ("On Law and Justice" and "On Wisdom") deserve further consideration and contain important information for the interpretation of Archytas. Provides a complete translation for the fragments of those works.

The paper will study an unpublished 1930–31 seminar where Heidegger reads Plato’s Parmenides, showing that in spite of his much-criticized habit of dismissing Plato as the progenitor of “idealist” metaphysics, Heidegger was quite aware of the radical potential of his later dialogues. Through a temporal account of the notion of oneness (to hen), the Parmenides attempts to reconcile the plurality of beings with the unity of Being. In Heidegger’s reading, the dialogue culminates in the notion of the “instant” (to exaiphnēs, (...) Augenblick)—a high point in the entire metaphysical tradition—where the temporal plurality of presence and un-presence converges into a unified disclosure. (shrink)

Among Aristotle’s criticisms of the Form of the Good is his claim that the knowledge of such a Good could be of no practical relevance to everyday rational agency, e.g. on the part of craftspeople. This critique turns out to hinge ultimately on the deeply different assumptions made by Plato and Aristotle about the relation of ‘good’ and ‘good for’. Plato insists on the conceptual priority of the former; and Plato wins the argument.

Plato conceived of the Form of Beauty as quite distinct from the Form of the Good. Beauty was a means to the Good. The ascent theory of the Symposium has suggested to some commentators that Plato envisaged two kinds of beauty, the sensuous and the intellectual, and that to reach the Good we must transcend our sensuous desires and cultivate an appreciation of intellectual beauty. However, in the Laws Plato presents us with a third notion of beauty, which is neither (...) sensuous nor intellectual. To experience beauty we need to cultivate our pleasure in harmonious forms. This is where we find a theory of beauty that resonates in Kant’s aesthetic theory. According to the latter, the feeling for beauty is a feeling for harmony that takes us beyond the confines of a world marked out by self-interest. I conclude that Plato’s aesthetic theory anticipates the role that aesthetic judgment would play in Immanuel Kant’s system of the mind. (shrink)

Some remarks about commentaries on Plato in the medieval Byzantium.

This paper examines G. W. F. Hegel’s interpretation of Plato from his Lectures on the History of Philosophy, situating his interpretation historically and noting features that resonate with contemporary Plato scholarship. Hegel forms his interpretation prior to stylometric studies of the dialogues, and distinguishes his Plato from Wilhelm Gottlieb Tennemann and Friedrich Daniel Ernst Schleiermacher’s views. Hegel responds to important interpretive concerns: 1) the relationship between Socratic and Platonic thought, 2) the dialogue form, 3) Platonic Anonymity and 4) Platonic myth. (...) His treatment of these issues is illustrative with respect to understanding Hegelian philosophy and the history of Plato interpretation. (shrink)

In his 1928-29 Sather Classical lectures, Paul Shorey noted that ‘there are few sentences and almost no pages of Aristotle that can be fully understood without reference to the specific passages of Plato of which he was thinking as he wrote. And as…few modern Aristotelians have the patience to know Plato intimately, Aristotelians as a class only half understand their author’ (Platonism Ancient and Modern, Berkeley: University of California Press, 1938, 6). In the 75 years since Shorey’s lament, scholarship has (...) become even more specialized, and rare is the scholar who has published regularly on both Aristotle and Plato. Thus, Plato and Aristotle’s Ethics, a collection of six papers (each with accompanying commentary) presented at a S.V. Keeling Colloquium on Ancient Philosophy in November 2001, is a welcome and worthy contribution by major scholars of ancient philosophy. The volume’s contributors examine topics in Aristotle’s ethical treatises which derive from his agreements and disagreements with Plato. The volume includes an index locorum and an introduction by R. Heinaman, but no general bibliography. Although understanding the Platonic origins of Aristotle’s discussions is helpful to any student of the Ethics, the analyses are at times extraordinarily rich and closely argued, and indeed space forces me to underscore only the main arguments and largely omit discussion of the commentators’ remarks. (shrink)

This essay begins with a consideration of one way in which animals and persons may be valued as “irreplaceable.” Drawing on both Plato and Pascal, I consider reasons for skepticism regarding the legitimacy of this sort of attachment. While I do not offer a complete defense against such skepticism, I do show that worries here may be overblown due to the conflation of distinct metaphysical and normative concerns. I then go on to clarify what sort of value is at issue (...) in cases of irreplaceable attachment. I characterize “unique value” as the kind of value attributed to a thing when we take that thing to be (theoretically, not just practically) irreplaceable. I then consider the relationship between this sort of value and intrinsic value. After considering the positions of Gowans, Moore, Korsgaard, Frankfurt, and others, I conclude that unique value is best understood not as a variety of intrinsic value but rather as one kind of final value that is grounded in the extrinsic properties of the object. (shrink)

APh 75-03933: Discussione di problemi testuali e nuove proposte di lettura.

The article discusses the presence of Plato' philosophy in Poland including the presentation of the reception of Plato's texts and the knowledge of Plato's philosophy in Poland. It outlines the influence exerted by Plato's thought on various aspects of Polish culture and sets out the research on Plato in the XIX and XX centuries. The paper is supplemented with a selection of contributions concerning Plato (papers, monographs, translations) published in Poland after the year 1945.

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

This essay undertakes a reexamination of the notion of the receptacle/chōra in Plato's Timaeus, asking what its value may be to feminists seeking to understand the topology of the feminine in Western philosophy. As the source of cosmic motion as well as a restless figurality, labile and polyvocal, the receptacle/chōra offers a fecund zone of destabilization that allows for an immanent critique of ancient metaphysics. Engaging with Derridean, Irigarayan, and Kristevan analyses, Bianchi explores whether receptacle/chōra can exceed its reduction to (...) the maternal-feminine, and remain answerable to contemporary theoretical concerns. (shrink)

APh 75-03932:Sono presentati i risultati di una nuova collazione dei principali manoscritti delle prime sette tetralogie, estesa anche a codici non utilizzati dall'edizione corrente degli scoli. Viene esclusa una redazione tardo-antica del corpus che risulta un prodotto specificamente bizantino redatto in tre fasi fra il 9° sec. e la metà del 10°.

The paper is concerned with the epistemological foundation of Plato's criticism of Gorgias' rhetoric in the dialogue "Gorgias".