This paper reevaluates the role of Adeimantus in Book 2 of Plato's Republic, arguing that his challenge to Socrates' view of justice—specifically, his interest in the influence of the outer world on our inner lives—serves a crucial yet underappreciated purpose in initiating the political project of the work. I suggest that it's due to Adeimantus' contribution in the Republic that Plato's wide-ranging inquiry into issues in ethics, politics, psychology, epistemology, and metaphysics hangs together as an integrated whole. A further benefit (...) of this reevaluation, I argue, is the way it illuminates Plato's assessment of poetry in the dialogue. This paper was delivered this past year as part of the Boston Area Colloquium in Ancient Philosophy. Comments are welcome but please do not cite without permission. (shrink)

This paper sets out to analyze Proclus’ exegesis of Socrates’ suggestion in Parmenides 132d1-3 that Forms stand fixed as patterns, as it were, in the nature, with the other things being images and likenesses of them. Proclus’ analysis of the notion of being pattern reveals the impact of the Aristotelian conception of the form as paradigm on his views, as we can infer from Alexander of Aphrodisias’ and Simplicius’ explanation of the paradigmatic character of the Aristotelian form. Whereas Aristotle and (...) Alexander of Aphrodisias refute the efficient causality of the Platonic Forms and support that μέθεξις is just a metaphor, Syrianus, Proclus and Asclepius defend the Platonic theory, and specifically Proclus, who brings to the fore the multilateral role of the Forms as patterns with regard to the secondary things of this realm.[1] [1] An earlier version of this paper was presented at the Symposium Platonicum XII: Plato’s Parmenides, organized by the International Plato Society, Paris, 15-19 July 2019. (shrink)

Music is said to consist of melody, rhythm, and harmony. Sound is assumed to be something that automatically follows once musical structure is determined. Sound, which is what actually impinges on our eardrums, has been so long forgotten in the history of musical theory. It is ironic that we do not talk about the music which we hear every day but rather are exclusively concerned about the abstracted structure behind it. This is a legacy of ancient Greek ideas about music, (...) which most contemporary musical discourses are based on. Under this tradition, imperceptible music has priority over perceptible music in reality. On the contrary, music was explained in the framework of sound, tone, and music in ancient China. Although different thinkers tried to define music in a variety of ways, sound was never completely expelled from their musical theorizations. On one hand, music was regarded as a continuum of sound and tone, namely, perceptible music and intelligible music in its structure. On the other hand, music was considered as something that could not be reduced to its structure or notation but could be associated with much broader contexts. This article explores two different traditions in ancient Greece and China in terms of their musical ontology. By answering the question, “What is music as such?” differently, they developed different views on issues such as the relationship of music and emotion, the role of music in society, the symbolization of music, and so on. (shrink)