Zeno of Citium

This paper attempts to reconstruct the views of the Stoic Posidonius on the emotions, especially as presented by Galen’s On the Doctrines of Hippocrates and Plato. This is a well-studied area, and many views have been developed over the last few decades. It is also significant that the reliability of Galen’s account is openly at issue. Yet it is not clear that the interpretative possibilities have been fully demarcated. Here I develop Galen’s claim that Posidonius accepted a persistent, non-rational aspect (...) of the soul that he connects with the merely animal part of humans. The aim is to begin from this testimony in answering two questions: (1) How might the possession of a non-rational element of the soul operate alongside the hêgemonikon (leading-part of the soul) as a source of impulse for Posidonius. (2) How does this persistent animal aspect conform to the Stoic ontological classification found in their scala naturae? I shall argue in response to these that (a) Posidonius distinguished the merely cognitive aspects of the soul from those that are rational, and (b) that the hêgemonikon itself is not to be identified with what is rational. Accepting a persistent non-rational source of emotional impulses allows Posidonius a richer framework for explaining human affective responses and behaviours. I also briefly address Galen’s motivation for the account he offers. It is in view of Posidonius’ approach to Plato’s Timaeus that Galen’s discussion finds its most plausible interpretation. (shrink)

In the 89th letter to Lucilius Seneca divides philosophy into three parts, namely ethics, physics, and logic. As philosophy in general he also divides its ethical parts into three parts: the first one has to do with value judgments, the second with impulses, and the third with actions. But instead of characterizing each of these parts and giving an overview of their contents he rather describes an ideal action: first, one makes a correct value judgment, then, one initiates a regulated (...) and ordered impulse, and finally, one brings this impulse into harmony with one’s external action by paying attention to the circumstances under which one intends to act. If each of these action moments has the mentioned character, one is consistent with oneself—an important step towards reaching full self-consistency, i.e., virtue. If those moments do not have the mentioned character, as for example in a passion, one cannot be consistent with oneself. As a result, one diverges from the goal of full self-consistency and thus from virtue. The thesis of my book takes up the parallel Seneca is drawing between ethics and its parts on the one hand and an action and its moments on the other hand. I argue that his ethics is based on an action theory that has as its main moments a judgment, an impulse and an external action. Within this theoretical framework, Seneca gives an answer to the question of what one should do in order to reach full self-consistency, i.e., virtue, which for a Stoic like him is a necessary and sufficient condition for happiness. My book, correspondingly, has two major parts: first, I am working out Seneca’s action theory and its philosophical origins, then, I am concerned with his ethics. In the first main chapter, I further argue that his action theory stems for the most part from the early Stoics, but that unlike them he has a concept of will. This concept, as I want to show in the second part, plays an important role in his ethics, too. (shrink)

Disney’s Frozen (2013) and Frozen 2 (2019) are among the highest-grossing films of all time (IMDb 2021) and are arguably among the most influential works of fantasy produced in the last decade in any medium. The films, based loosely on Hans Christensen Andersen’s “The Snow Queen” (Andersen 2014) focus on the adventures of the sisters Anna and Elsa as they, together with their companions, seek to safeguard their people both from external threats and (importantly) from Elsa’s inabilities to control her (...) magical abilities to summon ice and snow. While Anna’s choices drive much of the action of both films, Elsa has undoubtedly been the more influential and popular of the two characters, as indicated by measures such as merchandise sales (Ellen Byron and Paul Ziobro 2014), Google search data (Play Like Mum 2020), and even baby name choices (Wolfers 2015). -/- Despite her popularity, Elsa is in many ways a paradoxical sort of hero, as she finds her actions all but predetermined by both external and internal forces. This is particularly the case in the first film, where we meet an Elsa who has been born with a power she cannot control, and which appears more as a force of nature than as anything that “belongs” to Elsa. The film’s action is driven, in large part, precisely by Elsa’s failures to exert control over her emotions and abilities. She begins the film by accidentally injuring Anna. This, in turn, causes Elsa to become fearful and withdrawn and to isolate herself from her sister, even after their parents die on a quest to find a cure for Elsa. Elsa's fear and lack of control lead to an even more dire outcome when she inadvertently calls down winter on Arendelle and abandons her people for the mountains. It is only through Anna's devoted quest to rescue her sister, first by pursuing her to the mountains, and later by throwing herself in front of the villainous Hans’ sword attack on her sister, that Elsa (and Arendelle) are saved. Elsa's most active contribution to this is to appreciate the import of Anna's sacrifice and to discover the power of "love" to overcome her fear. -/- What then, are we to make of Elsa as a character? It is the younger sister Anna who corresponds most closely to Gerda, the unquestioned protagonist of Andersen’s original tale, and her character arc fits neatly with the well-known “Hero’s Journey” model for describing myth (Campbell 2020). It is Anna, for example, who goes on a quest, meets a group of motley companions (the human Kristoff, the reindeer Sven, and the magical snowman Olaf), accepts advice from wise elders (the trolls), undergoes a severe trial, and even gets the "reward" of romantic love at the end. All of this has led some scholars (Niemiec and Bretherton 2015; Heit 2019) to hold up Anna, rather than Elsa, as something like the hero of the story. Existing scholarship on Elsa, by contrast, has focused largely on issues related to her gender and sexuality (Law 2014; Lee 2015; Steinhoff 2017; Streiff and Dundes 2017; Dundes, Streiff, and Streiff 2018; Dundes 2020; Llompart and Brugué 2020). In what follows, I’ll be taking a closer look at Elsa’s unique status as a protagonist, and what her struggles with fate reveal about the nature of free will and ethical responsibility. I’ll argue that Elsa provides a useful model of a “Stoic hero” and that her strengths and weaknesses as a character provide valuable insight into an often-misunderstood school of philosophy. My argument will proceed in several stages. I’ll begin by describing the basic tenets of Stoic philosophy, paying special attention to the role of fate and nature. I’ll then move on to a more detailed treatment of Stoic ethics, as exemplified by Elsa’s own character development. I’ll close by considering the infamous “Lazy Argument” against. (shrink)

This paper seeks to elucidate the distinctive nature of the rational impression on its own terms, asking precisely what it means for the Stoics to define logikē phantasia as an impression whose content is expressible in language. I argue first that impression, generically, is direct and reflexive awareness of the world, the way animals get information about their surroundings. Then, that the rational impression, specifically, is inherently conceptual, inferential, and linguistic, i.e. thick with propositional content, the way humans receive incoming (...) information from the world. When we suspend certain contemporary assumptions about propositional content, the textual evidence can be taken at face value to reveal why, for the Stoics, rational impressions are called thoughts (noēseis) and how the Stoics’ novel semantic entities called lekta (roughly, the meanings of our words) depend on rational impressions for their subsistence. (shrink)

At the heart of the Stoic theory of modality is a strict commitment to bivalence, even for future contingents. A commitment to both future truth and contingency has often been thought paradoxical. This paper argues that the Stoic retreat from necessity is successful. it maintains that the Stoics recognized three distinct senses of necessity and possibility: logical, metaphysical and providential. Logical necessity consists of truths that are knowable a priori. Metaphysical necessity consists of truths that are knowable a posteriori, a (...) world order according to certain metaphysical principles and natures that god crafts within the constraints of matter. Finally, what is providentially necessary is what occurs according to the chain of fate, but only once it is in process or past. -/- The method of the paper is a close reading of Diogenes Laertius 7.75, adducing broad textual evidence along the way, to show that the Stoic theory of modality embraces Philonian possibility, both that which is capable of being true as a matter of logical consistency, and that which is possible according to the bare fitness of the entity. What differentiates the Stoics from Philo is their additional commitment to possibility as opportunity, resisting the collapse of determinism into necessity. (shrink)

Cynicism is a unique philosophy. You could even say that they took their principles a little too far, perhaps. Diogenes' core idea was that Man should live in accordance with nature, as simply as possible. He along with his students were missionaries of a sort, traveling city-to-city preaching about the life of simplicity. To Diogenes, material things like money and lavish accessories corrupted nature. Not only did he despise concrete things, but he also disapproved of social conventions. Like every philosopher (...) in the Hellenistic period, Diogenes believed that virtue was the highest good. Virtue was the rejection of desires and the pursuit of goods earned by the individual, according to Diogenes. What he meant by goods earned by the individual was that things granted by other people and nature happen purely by chance. Diogenes said that everything we own should come from ourselves: confidence, happiness, et cetera. Diogenes said that everything we own should come from ourselves: confidence, happiness, et cetera. Two of the key principles of Cynicism were freedom (eleutheria, ελευθερια) and free speech (parrhesia, παρρησια). To be a Cynic, you must be free from society's and life's constraints and you must also speak without fear. Desires of wealth and reputation were unnatural and made us less human, property and social classes dehumanized us, and conventional, man-made norms limited our freedom. (shrink)