Plato’s Socrates is famous for claiming that “I know one thing: That I know nothing”. There is one subject that Socrates repeatedly claims to have expertise in, however: ta erôtika. Socrates also refers to this expertise as his erôtikê technê, which may be translated as “erotic expertise”. In this dissertation, I investigate Socrates’ erotic expertise: what kind of expertise is it, what is it constituted by, where is it put into practice, and how is it practiced? I argue that the (...) purposes this expertise serve are, to a significant extent, educational in nature. After first having clarified the dissertation’s topic and aim, as well as my methodological approach, I present an initial account of erôs and Socrates’ erotic expertise. While discussing what constitutes Socrates’ erotic expertise, I account for two erotic educational methods: midwifery and matchmaking. I further argue that these methods tend to be accompanied by two psychological techniques, namely charming and shaming. I argue that these methods and techniques are systematically applied by Socrates when he puts his erotic expertise into practice. In the dissertation, three dialogues where Socrates practices his erotic expertise are scrutinized: Lysis, Charmides, and Alcibiades I. I focus on Socrates’ encounters with the eponymous youths of the dialogues, and each dialogue is devoted a chapter of its own. I show how these dialogues are erotically charged, and also how Socrates in these dialogues demonstrates his erotic expertise. I argue that Socrates’ expertise on erôs plays an essential role in his attempts to engage the three youths in the processes of self-cultivation, learning, and the very practice of philosophy. In the final chapter of the dissertation I turn to some questions that arise in light of my readings, and summarize the results of my investigation. (shrink)

A crux of Plato’s Symposium is how beauty relates to the good. Diotima distinguishes beauty from the good, I show, to explain how erotic pursuits are characteristically ambivalent and opaque. Human beings pursue beauty without knowing why or thinking it good; yet they are rational, if aiming at happiness. Central to this reconstruction is a passage widely taken to show that beauty either coincides with the good or demands disinterested admiration. It shows rather that what one loves as beautiful does (...) not appear good, a proposal with ramifications for ethical psychology. (shrink)

The Timaeus is a muthos that attempts to imagine a logos of the cosmos. Like the demiurge, readers are to be mimetic artists, poets, who move constantly between the intelligible essences and their likenesses in the world of appearance, experience, and becoming, occupying a third register that is neither and both. The cosmology of the Timaeus is both a likely story and an allegory of its own failure. It takes place within the nonspace of the khōra, a realm accessible only (...) through bastard reasoning that we can perceive only as if in a dream. The Timaeus is an unfinalizable logos in which each moment of positing is also a moment of irony and interrogation, of simultaneous acceptance and active separation, of choric space. (shrink)

Here I aim to show how the views on the body in Plato´’s Symposium must be considered not as contradictory but as complementary. The three main thesis of this paper are: a) The body is essential for the triggering of “erôs”, insofar as sexual attraction to beautiful bodies is the most natural way in which anyone can start to develop an erotic experience. b) The ascent towards beauty itself implies detachment from a particular body as such in order to move (...) to an appraisal of it from a wider, more general understanding. c) Additionally the loving relationship between Socrates and beautiful young men shows that the physical dimension of “erôs” is never completely eradicated by Plato but, on the contrary, it works as an essential trigger of desire. (shrink)