Recent research on “psychotherapy” in Greek philosophy has not been fully integrated into thinking about philosophy as a way of life molded by personal relationships. This article focuses on how the enigma of Socratic eros sustains a network of thought experiments in the fourth century BCE about interpersonal dynamics and psychical transformation. It supplements existing work on Plato's Symposium and Phaedrus with comparative material from Aeschines of Sphettus, Xenophon, and the dubiously Platonic Alcibiades I and Theages. In order to select (...) and illuminate commonalities among all of these, it also draws critically upon Jacques Lacan's psychoanalytic technique and his numerous comparisons between Socrates and psychoanalysts. What emerges is a more complex and qualified but no less sincere appreciation for the ideal of reflective, cooperative aspiration toward Beauty portrayed in Plato's dialogues. (shrink)

In the "Republic," Plato has Socrates attack poetry’s use of mimēsis, often translated as ‘imitation’ or ‘representation.’ Various scholars (e.g. Blondell 2002; Frank 2018; Halliwell 2009; K. Morgan 2004) have noticed the tension between Socrates’ theory critical of mimēsis and Plato’s literary practice of speaking through various characters in his dialogues. However, none of these scholars have addressed that it is not only Plato the writer who uses mimēsis but also his own character, Socrates. At crucial moments in several dialogues, (...) Socrates takes on a role and speaks as someone else. I call these moments “Socratic mimēsis.” While previous commentators have noticed some of these moments, they have either overstated their rarity or they have not studied them collectively. My dissertation is the first in-depth investigation of this phenomenon in the dialogues. Socrates’ dramatic imitation of others is way of teaching in a voice separate from his own, and it is also a way for Plato to speak to, and to educate, different kinds of audiences. Although “Socratic mimēsis” occurs throughout the Platonic corpus, I focus on three passages from three different dialogues, which are paradigm instances: [1] in the "Crito" Socrates plays the part of ‘the Laws’ (50a-54c); [2] in the "Theaetetus" he acts the part of ‘Protagoras’ (166a-168c); and [3] in the "Menexenus" he recites a funeral speech learned from ‘Aspasia’ (236d-249c). Instead of one-sidedly reading the dialogues as either only literary works of art or as only a series of philosophical arguments, this study gleans philosophic insights from the literary and dramatic details of the dialogues. In chapter one I argue that in the "Crito" Socrates tries to convince Crito of a universal and absolute ethics based on never committing injustice, but Crito is not able to understand. In order to make Crito more just—but not yet at the level of Socratic ethics—Socrates creates ‘the Laws’ to persuade Crito to expand his personal notion of justice. Socrates instills a political obedience in place of Crito’s existing lawlessness as a second-best recourse. Plato expects the astute listener or reader to see the contrast between Socrates’ earlier ethical principles, said in his own voice, with what he says in the voice of ‘the Laws.’ In chapter two I argue that in the part of the "Theaetetus" where Socrates defends Protagoras (often called ‘the Defense’), Socrates, by imitating ‘Protagoras,’ is actually criticizing Protagorean relativism. The Protagorean theory cannot account for mimēsis and Socrates’ mimetic act performatively contradicts the identity of appearance and reality, which the theory presupposes. Finally, in chapter three I argue that in the Menexenus the funeral oration that Socrates recounts for Menexenus that he heard from ‘Aspasia’ is actually a disguised criticism of political rhetoric and of Athenian imperialism. Although the speech is never interrogated within the dialogue, Plato provokes the listener or reader outside the dialogue to question its message and to see how it conflicts with many of Socrates’ positions in other dialogues. Beyond reconsidering the long-standing and persistent view that Plato was against poetry and mimetic performance, I re-examine the role that performance and role-playing can have in philosophy and pedagogy more generally. Actors, by taking on other personas, and audience members, in observing actors and their actions, are both involved in acts of imagination that can expand their horizon of thinking and feeling. (shrink)

Plato makes explicit references to Corybantic rites in six of his dialogues, spanning from the so-called early Crito to the later Laws. In all but one of these an analogy is established between aspects of the Corybantic rites and some kind of λόγος: the words of the poets in the Ion, Lysias' speech in the Phaedrus, and the arguments of Euthydemus and Dionysodorus, the personified Laws and Socrates in the Euthydemus, Crito and Symposium respectively. Plato's use of Corybantic analogies is (...) thus quite extensive. Indeed, according to Ivan M. Linforth, whose 1946 article is still the most rigorous treatment of our sources on Corybantic rites in classical Athens, Plato is our ‘principal witness concerning Corybantic rites and their function’. (shrink)

In recent years, the notion of ‘philosophy as a way of life’ has again received much attention. Fittingly, whilst this revived interest has generated numerous scholarly publications, attention has...

This paper aims to interpret the role of the soul as ontological, intellectual or cognitive and as the moral principle within the frame of the holistic conception of human psychosomatic health that emerges from the context of Zalmoxian medicine in the proemium of Plato’s Charmides. It examines what the ontological status of the soul is in relation to the body and the body–soul complex of man considered as a psychosomatic whole. By comparing the presentation of the soul as principle in (...) the Charmides and the Phaedrus, the paper defends the thesis that in the former dialogue, Plato develops his own anthropological ontology, which paves the way for the salvation of human existence and health. The soul is bestowed with an ontological primacy that determines the philosophical and medical presuppositions for treating human illness under a holistic view. The interpretation of the ontological relation of the soul to the body and the entire human being in the context of Zalmoxian holistic medicine is based on Hermias Alexandrinus’ exegesis of the conception of the soul as principle in the Phaedrus. This paper demonstrates that, from both the medical holistic viewpoint and the anthropological philosophical perspective, the soul is the principle and πρῶτον with regard to the body and the body–soul complex without being the whole that the corresponding medical epistemology must apprehend. (shrink)

In this paper, I intend to focus on some rhetorical strategies of argumentation which play crucial role in the therapeutic discourse of Roman Stoicism, namely in Musonius Rufus, Epictetus, Seneca, and Marcus Aurelius. Reference is made to Chaim Perelman’s view of ancient rhetoric as an art of inventing arguments. Moreover, it is pointed out that in rhetorical education as well as in therapeutic discourse the concept of “exercise” and constant practice play a crucial role.

En Heracles de Eurípides, el héroe en un ataque de locura mata a su familia. Una vez que toma conciencia de lo que ha hecho decide suicidarse, pero Teseo es capaz de persuadirlo para que no se quite la vida. Dada la particularidad de esta tragedia en comparación con otras que abordan la misma temática, analizaré la función curativa de la palabra en la recuperación de Heracles, para luego abordar la influencia del movimiento sofistico -en particular Protágoras y Gorgias- en (...) la obra de Eurípides, dado que propongo que la condición para el desarrollo de una cura por la palabra es el estudio de la función persuasiva del lógos que realizan los sofistas. On Euripides' Heracles, the Dorian hero kills his family in a fit of madness. Once he is aware of what he has done, he decides to commit suicide, but Theseus persuades him otherwise. Given the peculiarity of this tragedy -in comparison with others that raise the same subject- I will analyse the healing power of the word in Heracles' recovery. I will focus on the influence of the sophist movement, particularly the figures of Protagoras and Gorgias in Euripides' work since I consider that the condition to develop a cure using words is the study that the sophists do on the persuasive function of the lógos. (shrink)

In the aftermath of a normalized Foucaultian world with an all encompassing web of biopower, one remaining hope is to cultivate nimbleness. Nimbleness is an embodied aesthetic sensitivity to the material presence. Cultivating nimbleness is a particular style of cultivation; it is to willfully gather together one’s self in the wake of a formative force far richer than the derivative web of living power relationships of human embeddness within a horizon of social, economical, political and historical subjectivating power relations; which (...) are chronicled and labeled by Michel Foucault as the normalizing practices of biopower. In other words to have freedom, one must start by rejecting the categories and labels normally internalized in order to relearn to learn from the material presence. Such a style of cultivation is a means of resisting normalizing power relations which co-opt cultivating practices to engross their own dominance which has had the by-product of an impotence to negate the gross material injustices present. This normalizing style of cultivation is a prevalent, corrupted, semblance which denies the importance of beauty for that of efficiency, rejects non-human purposiveness, and limits its measure of ethics to short term economical pragmatism. The thesis acknowledges that something is awry with the world and that giving care to beauty might help. The aim is to examine the event of Beauty as depicted by the philosopher Immanuel Kant and to apply this characterization to elective architectural spaces such that it may motivate individuals to cultivate their own nimbleness in relation to a formative force of nature. However given the revealed need for sensitivity to the particular material presence, the thesis can not be a rule book or catalog for beautiful design. Rather it is a rehabilitation for architects who are already heterospatially curious, with the desired outcome of architects cultivating their own nimbleness to reflectively judge as a ground up, multi-node, rhizomatic means of resistance to normalizing power practices as manifest in bad architecture. (shrink)