ABSTRACTThere is an ongoing debate in New Testament scholarship on the correct interpretation of Paul’s pistis Christou formulations: are we justified by our own faith/trust in Christ, or by participating in Christ’s faith and faithfulness towards God? This article contributes to the position of purposeful or sustained ambiguity by reading Paul’s imitation – and faith – language against the background of Hellenistic-Roman thought on and practice of imitation. In particular, the mimetic chain between teachers and students training for a philosophical (...) disposition, and the philosophical topos of ‘becoming like God’ offer material valuable for comparison. Since pistis, fides and cognates are used in these settings as both a quality to imitate and as attitude towards a model, and since, conversely, imitation is very much involved in Paul’s pistis-vocabulary, it makes sense to read pistis Christou as shorthand for a mimetic movement of faith via Christ towards God. (shrink)

Classical Greece is famous for its athletic art, particularly the image of the nude male athlete. But how did the Greeks understand athletic beauty? Plato, Aristotle, Xenophon, and others discuss athletes’ beauty, while the educational ideal of kalokagathia conceptually connects athletic beauty with the good. More questions need to be answered, however, if we are to understand ancient athletic beauty. We need to ask ourselves what the Greeks appreciated when they looked at athletic bodies. What did those qualities mean to (...) them? In what way was it erotic? How did it differ for females and males? In this paper I argue that the beautiful athletic body is framed in ancient Greek thought, not just as an aesthetically pleasing image, but as an ideal expression of a certain kind of soul. (shrink)

Three distinct reasons that Plato calls the rational part of the soul “divine” are analyzed: its metaphysical kinship with the Forms, its epistemological ability to know the Forms, and its ethical capacity to live by them. Supposing these three divine aspects of the rational part are unified in the life of each person, they naturally suggest a process of divinization or “becoming like god” according to which a person, by living more virtuously, which requires increasingly better knowledge of the Forms, (...) gradually becomes united with them. This process of divinization is in fact found throughout the middle and late dialogues, including the Phaedo, Republic, Symposium, Phaedrus, Timaeus, and the Laws. This synoptic view of the Platonic idea of divinization provides a standard according to which misplaced emphasis, flaws, and tension created by other interpretations are criticized and corrected. (shrink)

In his dialogues, Plato presents different ways in which to understand the relation between Forms and particulars. In the Symposium, we are presented with yet another, hitherto unidentified Form-particular relation: the relation is Love (Erôs), which binds together Form and particular in a generative manner, fulfilling all the metaphysical requirements of the individual’s qualification by participation. Love in relation to the beautiful motivates human action to desire for knowledge of the Form, resulting in the lover actively cultivating and bringing into (...) being new beauty in the world, and in herself. Chapters 1 and 2 of this thesis offer a survey of the arguments and examples Plato puts forward in the text of the corpus regarding the nature of Forms and the nature of participation, alongside a framework of the traditional interpretations of these two Platonic concepts in the literature. Chapter 3 turns to a close examination of Erôs in the Symposium, arguing that the love Plato presents in this dialogue is of a different sort than appetitive emotion. It is an aesthetic and intellectual attraction, capable of stimulating cognitive achievement. Erôs, however, does not stop there. The lover is led not only to contemplation of beauty, but to the generation of beauty, which is the subject of Chapter 4. The emotive-turn-to-cognitive relation of Erôs, I argue, is the clearest picture Plato paints of how possession of properties can be explained through participation in Forms. Erôs leads the lover to produce beauty in the world and in the soul, which explains how love in relation to the beautiful can lead to becoming beautiful. The object of love is the generation of beauty, the mortal mechanism of participation in the Form by which the lover herself becomes beautiful. Finally, Chapter 5 focusses on beauty itself and its role in moral education. Beauty, for Plato, is required for creative generation and can be understood as a uniquely powerful virtue of soul. (shrink)