This paper argues that Aristotelian practical wisdom (phronêsis) is a state of conviction (pistis) in the goodness of our goals based on proper grounds. This state of conviction can only be achieved if rational arguments and principles agree with how things appear to us. Since, for Aristotle, passions influence appearances, they can support or undermine our conviction in the goodness of ends that are worth pursuing. For this reason, we cannot be practically wise without virtuous dispositions to experience appropriate passions. (...) Along the way, I argue that this reading allows us to explain the shortcomings of self-controlled and akratic agents. -/- . (shrink)

In his Poetics, Aristotle articulated certain ideas on the structure of drama that dominated both dramatic literature and theatre practices for the centuries to come. In this article I show how the thorough analysis of his statements leads us to believe that he endorses causality, narrativity, and temporal linearity as primary factors in the organization of dramatic and stage texts. Tracing various modifications of causality throughout theatre history, I use the work of the two prominent contemporary directors, Eimuntas Nekrosius and (...) Anatoly Vasilyev, to demonstrate how postmodernist theatre has arrived at non-Aristotelian theatrical model based on the unity of a time–space continuum rather than temporal development. (shrink)

The subject of this essay is a discussion of the doctrines of emotions of Plato and Aristotle. According to both them it is impossible to oust the passions from the good, i.e. happy life. On the contrary, emotions are an important component of human excellence. We investigate this question with reference to Plato’s doctrine of the soul and his concept of a perfect life, and Aristotle’s ethics, poetics and rhetoric.

The purpose of this paper is to build a parallelism between Aristotle’s debate with Plato on the merits of poetry and the debate of Hume with Smith on the nature of sympathy. My arguments is that the Aristotelian concept of pity, as presented in the Poetics, presupposes a mechanism of sympathy which is akin to the Smithian one, as articulated in his Theory of Moral Sentiments. Accordingly, I reconstruct Aristotle’s debate with Plato on poetry as a debate on the operation (...) and value of sympathy, and I trace an intriguing contiguity on the way Plato and Hume understood the mechanism of sympathy. (shrink)

: This paper offers a new interpretation of the first chapter of Aristotle’s Rhetoric and of Aristotle’s understanding of rhetoric throughout the treatise. I defend the view that, for Aristotle, rhetoric was a skill in offering the listener ‘proofs’, that is, proper grounds for conviction. His arguments in the opening chapters of the treatise state and defend this controversial, epistemically normative view against the rival views of Gorgias, Thrasymachus and the rhetorical handbook writers, on the one hand, and against those (...) of Plato, on the other. Aristotle defends his view on the basis that rhetoric is a skill in discharging an important role in the state – the role of helping citizens to good publicly-deliberated judgements. (shrink)

The pseudo-Aristotelian Mechanical Problems is the earliest known ancient Greek text on mechanics, principally concerned with the explanation of a variety of mechanical phenomena using a particular construal of the principle of the lever. In the introduction, the author (thought to be an early Peripatetic) quotes the tragic poet Antiphon to summarise a discussion of the techne-physis (art-nature) relationship and the status of mechanics as a techne. I argue that this citation of a poet is an Aristotelian cultural signature, intended (...) to guide its reader(s) towards a better understanding of the nature of mechanics as expounded in the Mechanical Problems. By analysing several instances where Aristotle cites Antiphon (as well as other tragic poets) in the Aristotelian corpus, I propose that both the author of the Mechanical Problems and Aristotle use poets for the purpose of persuasion. This is in turn explained by understanding the homologous relationship between mechanics-as-techne (according to the author of the Mechanical Problems) and poetics-as-techne (according to Aristotle) in terms of their shared status as poietike techne (productive art) and claims to universal knowledge. A final facet of the proposed relationship between mechanics and poetry is hypothesised on the grounds of their mimetic nature. (shrink)

Historically, philosophers have identified happiness with, among other things, pleasure, contentment, desire satisfaction, and, if we count the Greek eudaimonia as happiness, the life of virtue. When faced with competing theories of happiness, we need a way to decide which theory is more accurate. According to Larry Wayne Sumner's principle of descriptive adequacy, the best theory of happiness is the theory that best describes our ordinary, pretheoretical beliefs and intuitions. The chief aim of this article is to show that the (...) principle of descriptive adequacy is mistaken. To do this, it shows how the principle breaks down when applied to Aristotle's theory of eudaimonia, a theory Sumner claims to be descriptively inadequate as a theory of happiness. The article argues that we should reject descriptive adequacy as a metaphilosophical principle on the grounds that our intuitions and beliefs about happiness are too inchoate for any theory adequately to describe. (shrink)

Titian's Rape of Europa is highly praised for its luminous colors and sensual textures. But the painting has an overlooked dark side, namely that it eroticizes rape. I argue that this is an ethical defect that diminishes the painting aesthetically. This argument-that an artwork can be worse off qua work of art precisely because it is somehow ethically problematic-demonstrates that feminist concerns about art can play a legitimate role in art criticism and aesthetic appreciation.