The Timaeus is the dialogue that was for many centuries the most influential of Plato’s works. Among its readers we find Descartes, Boyle, Kepler and Heisenberg. In the first division of Timaeus Plato deals with the theory of celestial motion, in the second he presents us with the first mathematical theory of the structure of matter. Here, in a gigantic step forward with respect to the preceding Democritean atomistic theory with its unalterable micro-entities, he introduces the intertransformability of elementary corpuscles (...) and with that the first “chemical” reactions in history. Plato’s geometrical interpretation of Empedocles’ elements and his geometrical atomism is described at the molecular, atomic and sub-atomic level. The “chemical” reactions reported in Timaeus are written in the enlightening chemical symbolism, analogies with modern chemistry are noticed throughout. (shrink)

Plato scholars such as Matthias Baltes (1940-2003) and Luc Brisson have defended the thesis that Plato‘s Idea of the Good is on the one hand beyond being (epekeina tês ousias) in dignity and power, but is nevertheless not transcendent over being. The article gives first (I.), an introduction into the status questionis. Second (II.), it delivers the most important arguments for the thesis of Baltes and Brisson. Third (III.), it gives two counterarguments against the thesis. Fourth (IV), it deals with (...) the translation of L. Brisson "Apollon, quelle merveilleuse emphase" of 509c1-2. Fifth (V.), it concludes with some general questions concerning the deflationist interpetation of Plato‘s Republic, 509b9-10. (shrink)

Plato’s nephew Speusippus has been widely accepted as the historical person behind the mask of the anti-hedonists in Phlb. 42b–44c. This hypothesis is supported by, inter alia, the link between Socrates’ char- acterization of them as δυσχερεῖς and the frequent references of δυσχέρεια as ἀπορία to Speusippus in Aristotle’s Metaphysics MN. This study argues against assigning any privileged status to Speusippus in the assimilation of δυσχέρεια with ἀπορία. Instead, based on a comprehensive survey of how δυσχερ- words were used in (...) classical antiquity, the semantic shift of δυσχέρεια can be explained in an alternative way. (shrink)

This is an earlier version of a chapter from my book "Plato's Republic as a Philosophical Drama on Doing Well" (2014). The book analyses Plato’s Politeia (= Republic) as a philosophical drama in which the participants turn out to be models of various types of psychic constitution, and nothing is said by them which may be considered to be an opinion of Plato himself (with all that that entails for Platonism). The debate in Book I between Socrates and Thrasymachus serves (...) as a test case for the assumptions that the Socratic method involves searching for truth or examining the opinions of interlocutors and that Socrates is the mouthpiece of Plato. Socrates and Thrasymachus are usually assumed to be arguing about justice. In fact, they are going through the motions of an eristic debate, where the aim is not to discover the truth about the matter under discussion but to defeat the opponent by fair means or foul, but especially foul. The outrageous wordplay used by both men is not so obvious in translation, and in any case tends to be ignored or explained away by scholars who assume that Plato the philosopher was writing a philosophical treatise (an exposition of philosophical ideas) and not a philosophical drama (a presentation of philosophically interesting models, to be compared and contrasted by the reader). (shrink)

_ Source: _Volume 10, Issue 1, pp 1 - 39 Through a novel set of texts drawn from Plato, Porphyry, Plotinus, Ps. Julian, Proclus, Hermeias, Synesius and Damascius, I explore how anagogic _erōs_ in master-disciple relationships in Neoplatonism contributed to the attainment of self-knowledge and to the transmission of knowledge, authority and inspired insights within and outside the _diadochia_. I view anagogic _erōs_ as one of the most important channels of non-discursive pedagogy and argue for the mediating power of anagogic (...) _erōs_ in the attainment of the main goal of the Platonist: reorienting desire from sensible to intelligible beauty and changing one’s ontological status to become like god and attain union with the divine. After considering the problematic nature of Socratic _erōs_, its skeptics and detractors, I discuss the dynamics of philosopher-disciple relationships and the experience of anagogic _erōs_ in the following: the attack on Porphyry and defense by Plotinus following Porphyry’s recital of an ecstatic poem on _Hieros Gamos_, the concealment of anagogic _erōs_ behind the authoritative façade of an oracle, the intensely devotional private letters of Ps. Julian to the aged Iamblichus and of Synesius to his female master Hypatia; the identification of anagogic _erōs_ with theurgic ascent in Syrianus’s school according to Proclus and Hermeias and the experiences of anagogic _erōs_ outside the _diadochia_ in Damascius’ _Philosophical History_. I conclude that the true and correct practice of philosophy had much, if not everything to do with the anagogic _erōs_ between the true philosopher, the bacchant and the philosopher in training, aspiring to become transformed from thyrsus-bearer into bacchant. The privileged and exalted status given to the divine lover ensured the transmission of the philosophical tradition in all its richness, preserving both its discursive and non-discursive aspects as a system of thought, as a way of life and as a way of being and loving. (shrink)

One way of coming to terms with Platonic wonder is to examine what types of things in the dialogues elicit the pathos in the first place. My primary goal in this paper is to examine what evokes the wonder of Socrates and his interlocutors in a number of these works, and I will pay particularly close attention to what Plato has to say about the wondrous nature of humanity itself. I will show that Plato depicts Socrates and other characters found (...) in the dialogues, such as the young Theaetetus, as not only wonderers of the first rank, but also true wonders in themselves. (shrink)

La acción de los medios de prensa de construir y representar realidades socioculturales genera --en reiteradas ocasiones-- relaciones desiguales, promoviendo e institucionalizando unas identidades en desmedro de otras. La situación se complejiza cuando se trata de países vecinos, con sus respectivas tradiciones socio-histórico-culturales, pasados comunes y límites bisagra. Bajo este escenario se analizaron las producciones noticiosas de cobertura nacional publicadas en los periódicos de mayor tirada de dos países limítrofes: “El Mercurio” de Chile y “El Comercio” de Perú. De este (...) modo, y por medio de una herramienta metodológica ligada al Análisis Crítico y Complejo del Discurso, esta investigación busca comprender los procesos de construcciones noticiosas y representaciones que los medios de prensa chilenos y peruanos hacen en torno a los “discursos de la diferencia” que se institucionalizan en la relación entre ambas naciones. The action of the press media of constructing and representing socio-cultural realities generates --on numerous occasions-- unequal relationships, which promote and institutionalize certain identities in detriment of others. The situation becomes more complex when it deals with neighboring countries and their corresponding socio-historical-cultural traditions, shared pasts, and “hinge-like” borders. Under this scenario, the production of national news by two nationwide press media of the neighboring countries will be analyzed: “El Mercurio” of Chile and “El Comercio” of Perú. In this manner, and using a methodological tool based on the Critical and Complex Analysis of the Discourse, the main objective of this research is to understand processes of construction of news and representations that the Chilean and Peruvian press make linked to the “discourse of the differences” which have been institutionalized in the relationship between them both. (shrink)

Totality and Infinity , the title of a well-known work by Emmanuel Levinas, takes up a word which readers of Poetic Intention and of many other texts of Édouard Glissant’s will easily recognize: a term sometimes used in a sense that is clearly positive, sometimes in a sense that is not quite as positive, such as when, for instance, he compares “totalizing Reason” to the “Montaigne’s tolerant relativism.” In his final collection of essays, Traité du tout-monde, Poétique IV , Glissant (...) attempts one more time to clarify the sense in which the reader will have to understand his use of the word “totality,” thinking, and rightfully so, that this word might lead to some confusion: “To write is to say the world. The world as totality, which is so dangerously close to the totalitarian.” Of course, here, it will be necessary to try to ascertain whether or not Levinas’s totality and Glissant’s can peacefully coexist, or, rather, whether this word might, in Glissant, have opposite meanings. Where the second word is concerned, “infinity,” any reader of Glissant will know that he locates its source in those societies he calls atavistic, which are grounded in foundational texts that are the bearers of stories of filiation, of legitimacy, societies whose arrogance and whose errors the author never ceases to decry and whose decomposition, in the very times in which we live, he never ceases to announce (even as Glissant recognizes that there was a time when atavistic cultures undoubtedly must have experienced their own period of creolization, and that, conversely, composite cultures undoubtedly often tend to become atavistic). On this level, “totality” and “infinity,” for him, seem to belong to the same world. Thus, and still in Traité du tout-monde , he proposes that "Hebraism, Christianity, Islam are grounded in the same spirituality of the One and to the same belief in a revealed Truth… The thought of the One that has done so much to magnify, as well as to denature. How can one consent to this thought, which transfigures while neither offending nor de-routing the Diverse?" Moreover, it would be interesting, I think, to know how Levinas might react to these words of Glissant’s: “Totality is not that which has often been called the universal. It is the finite and realized quantity of the infinite detail of the real.” This word, “infinite,” is decidedly dangerous: what is an “infinite detail?” Does this word, “infinite,” not always lead to the unknown, to the non-totalizable, to what Levinas would call an “enigma,” to what Glissant would call an “opacity?&rdquo. (shrink)

This thesis focuses on 'New' or 'Resolute' readings of Wittgenstein's work, early and later, as presented in the work of, for instance, Cora Diamond and James Conant. One of the principal claims of such readings is that, throughout his life, Wittgenstein held an 'austere' view of nonsense. That view has both a trivial and a non-trivial aspect. The trivial aspect is that any string of signs could, by appropriate assignment, be given a meaning, and hence that, if such a string (...) is nonsense, that will be because we have failed to make just such an assignment. The non-trivial aspect is this: that there is no further, non-trivial story to be told, and so nonsense is only ever a matter of our failure to give signs a meaning. Hence, too, logically speaking, all nonsense is on a par. That view, both of nonsense and of Wittgenstein, has attracted a great deal of controversy. It is particularly controversial in relation to Wittgenstein's 'Tractatus', where Wittgenstein famously declares, in the penultimate remark, that the reader is to recognise Wittgenstein's own elucidatory propositions there as nonsensical, and must eventually throw them away in coming to understand Wittgenstein himself. I defend the austere view and its attribution to Wittgenstein, early and later (but focussing primarily on the earlier), against a number of exegetical and substantial criticisms put forward by, for instance, Peter Hacker, Hans-Johann Glock and Adrian Moore. (shrink)

Este estudo incide sobre o primeiro estásimo da Antígona de Sófocles e procura analisar o seu significado. A questão a que tenta responder é a seguinte: que imagem do ser humano se encontra expressa nesta ode coral? Tal questão encerra várias outras: 1) Em, que sentido se diz que o homem é algo δεινόν – e mesmo até o mais δεινόν de tudo? 2) Qual a relação entre esta característica e o ser auto-inventado ou auto-inventor de que falam as três (...) primeiras estâncias deste estásimo? 3) Que significa exactamente παντοπόρος? É este conceito decisivo para se entender o ser humano? 4) É o homem efectivamente παντοπόρος? 5) Por que razão os anciãos de Tebas sustentam que, ainda que o epíteto “assente como uma luva”, παντοπόρος está longe de ser a última palavra sobre o ser humano? (shrink)

Scholars have long recognized that hypothêkai, or instructional wisdom sayings, served as building blocks for larger structures of Greek wisdom poetry. Yet the mechanism that gets from saying to poem has never been traced in detail. If the transition involves more than piling sayings on top of each other, what intervenes? Focusing on the archaic hexametrical tradition of Homer and Hesiod, the paper develops a repertory of variations and expansions by which the primary genre, the hypothêkê speech-act, is transformed into (...) a secondary genre—the larger-scale wisdom constructions we find in various Homeric speeches and much if not all of the Works and Days. The paper first argues for a precise formal description of the hypothêkê saying in the archaic hexameter; it then develops a toolbox of variations on the saying's basic form. Finally, the toolbox is put to work in order to read a forty-verse excerpt of Hesiod's Almanac. (shrink)

This dissertation responds to a long-standing debate among scholars regarding the nature of Platonic Eros and its relation to lack. The more prominent account of Platonic Eros presents the lack of Eros as a deficiency or need experienced by the lover with respect to the object needed, lacked, or desired, so that the nature of Eros is construed as self-interested or acquisitive, subsisting only so long as the lover lacks the beloved object. This dissertation argues that such an interpretation neglects (...) the different senses of lack present in the Symposium and presents an alternative interpretation of Eros based on the Symposium's presentation of Eros as the child of Poverty and Resource. Chapter one examines the origin and development of the position that Platonic Eros is acquisitive or egocentric and the influence this has had on subsequent interpretations of Plato's thought. Chapter two argues that Diotima's theogony of Eros that presents him as a child of Poverty and Resource is central to understanding the account of Eros propounded in her discourse. Chapter three examines the development and refinement of the concepts of lack and poverty that are offered alongside those of Eros throughout Socrates' account of Eros in the Symposium. Chapters four and five discuss the relationship of these concepts of lack to the depiction of Eros as an intermediary and the ethical consequences of this relationship. Chapter six shows how the disposition of poverty serves as the source of the erotic ascent toward the vision of the beautiful itself. Chapter seven, drawing upon the analysis of previous chapters, argues that the reexamination of the role of poverty in the Symposium reveals that the account of Eros offered there describes a katharsis of the affective element in human beings, parallel to the katharsis of the rational element described in Plato's Phaedo. This katharsis involves the embrace of poverty as a way of living, loving, and knowing. Thus, the poverty of Eros does not indicate a lack that is egocentric or acquisitive, but describes a kind of asceticism or spiritual discipline that is requisite for the philosophical and moral life. (shrink)

Les variations de Gilles Châtelet Sur une petite phrase de Riemann, montrent que loin de constituer une variante de la « philosophie baroque » telle que la définit Deleuze, son maniérisme épistémologique le rapproche étonnamment de l’attention aux « modes de données » et aux « modes de visée » caractéristique de la phénoménologie transcendantale. Comme Hermann Weyl, il voit à l’œuvre dans la phénoménologie husser-lienne un approfondissement de l’esthétique transcendantale kantienne, en la tenant pour une approche philosophique pertinente et (...) ajustée à la science de son temps.Châtelet’s variation on a note by Riemann, shows that, far from constituting a variant of the “Baroque philosophy” such as Deleuze defines it, his epistemological mannerism pays attention to “modes of givenness” and “modes of constitution”, which is characteristic of transcendental phe-nomenology. This explains why he considers, like Hermann Weyl, phe-nomenology as a deepening of Kant’s transcendental aesthetics and as a philosophical approach, relevant and adapted to the science of his time. It is in this perspective that we should hear their joint statements that transcendental phenomenology is epistemologically contemporary to special and general relativity. Châtelets Variation auf einer kleinen Phrase von Rie-mann zeigt, daß sein erkenntnistheoretischer Manierismus, eine Variante der nach Definition „barocken Philosophie“ von Deleuze weit entfernt zu sein, im Gegenteil in der Nähe von transzendentale Phänomenologie und seine Aufmerksamkeit auf die „Gegebenheitsmodi“ und „Konstitution-sweise“ steht. Überdies betrachtet er, wie Hermann Weyl, die Phänomenol-ogie und die Vertiefung der transzendentalen Ästhetik als philosophischen Ansatz für die Wissenschaft seiner Zeit. Es ist in dieser Perspektive, dass wir ihre gemeinsamen Aussagen hören, dass die Kantische Ästhetik in Husserls vertieft wird, und dass die transzendentale Phänomenologie epistemologisch zeitgenössisch ist für speziell und allgemeine Relativität.This article is in French. (shrink)

The aim of this paper is to discuss some features of the doctrines of the agrapha dogmata in Neoplatonism, starting from the reading of an anecdote, presented in the Anonymous Prolegomena to Platonic Philosophy, in which Plato dreams that close to death he becomes a swan which hunters are unable to catch. In fact, the dream is an explanation of the development of the Platonic tradition, and, more precisely, it presents a story of several exegetical disagreements that have survived till (...) the present day. Compared to modern interpretation of the Aristotelic testimony on the “so-called unwritten doctrines”, we can state that the late antique interpretations of them focus and depend on what Plato has left us in his written dialogues, which are the best living images of his oral dialogues. This conclusion is, then, a consequence of a study carried out on Ancient and Neoplatonic texts that leads to the acknowledgement of a Platonic philosophical system as well as to an overview of modern secondary bibliography produced by the esoteric interpretation of Plato and various views of scholars who are against this account. (shrink)

En este artículo trato de mostrar la diferencia entre el concepto de tò posón, la cantidad determinada o proporción matemática, válida en el terreno de las realidades cuantificables, y el concepto de tò métrion, la justa medida, válida en el terreno de las acciones humanas, no cuantificables. Argume..

This essay takes up the significance of Wittgenstein's philosophy for our understanding of literature (and vice versa) through a comparative reading of the stakes and aims of Kafka's and Wittgenstein's respective circa 1922 puzzle texts “Von den Gleichnissen” (“On Parables”) and the Tractatus Logico-Philosophicus. The essay builds upon the so-called resolute program of Wittgenstein interpretation developed by Cora Diamond, James Conant, and others, bringing its insights to bear on Kafka's perplexing work. The essay explores the ethical weight of these two (...) writers' investment in the philosophical depth of riddles, irony, and parabolic and nonsensical expression as unorthodox modes of indirect instruction about ordinary language and world, the yearning for transcendence, and the failure to achieve it. Both demanding works deal with the ethical difference between “getting” the philosophical import of a story or joke and not getting it in the context of an examination of the relationship (or lack thereof) between the activities and difficulties of everyday life, on the one hand, and those of literary expression and/or spiritual or philosophical teaching, on the other. Both strive to open readers to experience — as revealed through everyday language — by leading us beyond the dichotomy of facticity and transcendence, away from the urge to transcend the limits of language, and toward a recognition of the possibility of seeing our ordinary dealing with things as presenting a face of significance that is at once linguistically meaningful and ethically valuable. The central aim of this discussion of Wittgenstein's Tractatus and “Lecture on Ethics” alongside Kafka's parable is to examine the ways in which Wittgenstein's philosophical outlook, writing, and method (shaped by his general attraction to the Book and book writing as well as by his reading of certain works of literature) are deeply relevant to literary studies, and particularly to our understanding of literary modernism. (shrink)

In this essay, I read Woolf’s To the Lighthouse together with philosopher Cora Diamond’s writing on literature and moral life, writing marked by her inheritance from Wittgenstein. I first attend to Woolf’s commitment (one she shares with Wittgenstein) to grappling with what I take to be signature issues of modernism: question, quest, and a longing for vision or revised understanding as a way of confronting the difficulty of reality. I then probe Woolf’s engagement with these issues by reading her novel (...) in light of Diamond’s essay “The Difficulty of Philosophy and the Difficulty of Reality.” Diamond’s insights about literature’s capacity for ethical instruction, and her discussion in that essay of the experience of an ordinary sublime so painful or astonishing that it resists our understanding and categories of thought, illuminate a new philosophical context in which to understand more clearly and profoundly the stakes and aims of Woolf’s novel. Reading Woolf alongside Diamond also prompts us to recognize important ways in which matters that lie at the heart of To the Lighthouseintersect with the Wittgensteinian preoccupations that inform Diamond’s own thinking—concerns about the ethics of difficulty; skepticism about what other people think and feel; the search for communicative and existential clarity; the capacity of literature and fairy tale to convey a sense of beauty or of the “terrible” in the world; the status of expressions of our ethical experience as necessarily nonsensical; a longing for the sense of wholeness, transformative understanding, wonder, safety, and peace to stave off illusion or despair. One important subsidiary effect of looking at Woolf and Diamond together is that doing so also allows us to make significant oblique connections between Woolf’s thinking and Wittgenstein’s, connections that continue to bring into focus the philosophical sympathies that attest to the mutual relevance of their peculiar brands of modernism. (shrink)

Over the last few decades, philosopher of art Susanne K. Langer has gained growing attention for her wide-ranging and innovative philosophy of mind and culture. A central element in this philosophy is her distinction between sign and symbol. In order to understand the way in which Langer draws this distinction it is essential to know her philosophically formative sources: Henry Sheffer, Alfred North Whitehead, Ernst Cassirer and Ludwig Wittgenstein. Having explained this background, I will argue that Langer’s distinction between signs (...) and symbols not only has significant theoretical value but can be used to explain important differences between certain kinds of artistic images. I will illustrate this with a series of murals in Derry/Londonderry, Northern Ireland, painted by the Bogside Artists. Unlike Northern Ireland’s standard sectarian murals, the murals of the Bogside Artists do not function as territorial signs or as political message boards but as symbols that are vehicles for conception, reflection and commemoration. It is argued that Langer’s notion of art as a non-discursive, open-ended symbol can contribute to a better understanding of the murals of the Bogside Artists and to an argument for their preservation. (shrink)