Cette étude porte sur la notion aristotélicienne de vertu morale dans son sens strict, c’est‑à‑dire entendue comme médiété fixée relativement à nous. L’analyse et la critique des interprétations dites « quantitatives » d’une part, « relativistes » d’autre part, résultent en une clarification de la définition donnée par les Éthiques (cf. 1106b36‑1107a6 et 1227b8-9).

This article is about the methodological remarks in Nicomachean Ethics 7.1, 1145b2–7, and the way they are carried out in the following chapters. I argue that the procedure therein described does not aim to establish consistency among a subset of endoxa, but to test and refine—by considering and resolving objections against them—endoxa that could enter into a nominal definition of continence and incontinence. The dialectical lineage of this discussion, if there is one, is to be found in the use of (...) the critical procedure of resolution that can be traced back to Topics and Sophistical Refutations. (shrink)

This book presents a novel interpretation of Aristotle's account of how shame instils virtue, and defends its philosophical import. Shame is shown to provide motivational continuity between the actions of the learners and the virtuous dispositions that they will eventually acquire.

Simply by formulating a question about the nature of ancient Greek poetry or music, any modern English speaker is already risking anachronism. In recent years especially, scholars have reminded one another that the words ‘music’ and ‘poetry’ denote concepts with no easy counterpart in Greek. μουσική in its broadest sense evokes not only innumerable kinds of structured movement and sound but also the political, psychological and cosmic order of which song, verse and dance are supposed to be perceptible manifestations. Likewise, (...) ποίησις and the ποιητικὴ τέχνη can encompass all kinds of ‘making’, from the assembly of a table to the construction of a rhetorical argument. Of course, there were specifically artistic usages of these terms—according to Plato, ‘musical and metrical production’ was the default meaning of ποίησις in everyday speech. But even in discussions which restrict themselves to the sphere of human art, we find nothing like the neat compartmentalization of harmonized rhythmic melody on the one hand, and stylized verbal composition on the other, which is often casually implied or expressly formulated in modern comparisons of ‘music’ with ‘poetry’. For many ancient theorists the City Dionysia, a dithyrambic festival and a recitation of Homer all featured different versions of one and the same form of composition, a μουσική or ποιητική to which λόγοι, γράμματα and συλλαβαί were just as essential as ἁρμονία, φθόγγοι, ῥυθμός and χρόνοι. (shrink)

The task of corrective justice in Aristotle’s ethics is the rectification of harms or injuries resulting from voluntary or involuntary interactions between persons. However, the scope of this form of justice is not clear. In its widest conception it would include all harms done to a person against her will and without her fault. According to a narrower conception, instead, it is only an injury caused by an unjust or wrongful action that requires compensation. But in fact Aristotle distinguishes several (...) concepts of unjust action. As a result, the narrower conception appears in various versions which are discussed in this paper. (shrink)

Name der Zeitschrift: Rhizomata Jahrgang: 5 Heft: 2 Seiten: 177-209.