This paper takes Plato's metaphor of poetic transmission as magnetic charge in the Ion as a central trope for thinking through the various relationships between philosophy and literature; between poetry, interpretation, and truth; and between erotic affects and the material, corporeal, queer dimensions of reception. The affective dimensions of the Platonic text in the Ion, Republic, Symposium, and Phaedrus are examined at length, and the explicit accounts of ascent to philosophical truth are shown to be complicated by the persistence of (...) tropes of corporeal and affective downgoing, with particular attention afforded to the figures of Eros, Hermes, and shame. The paper argues for an unbroken connection between these scenes of classical philosophy and the emergence of homosexuality in relation to the study of the classics in Victorian England. (shrink)

The focus of this paper is the analysis of the epistemological and practical role played bypathe/affections in Epicurus’ philosophy. Epicurus firstly considered the affections not as emotional/passional conditions, but as firm criteria of truth and more specifically as the third criterion of the canonic (i.e. the epistemological part of his philosophical system). In this article the critical reactions (in particular by the Peripatetic side: Aristocles of Messene) against the Epicurean position about the function of the affections will be investigated too. (...) Finally, two parts of this paper are devoted to the Cyrenaic tripartition ofpathe(in all likelihood, a subject criticized by Epicurus) and to the probable doctrinal relationship between Epicurus’patheand Aristotle’sNicomachean EthicsBook 2. (shrink)

I argue that Plato, in theTimaeus, draws deep theoretical distinctions between sensation and affect, which comprises pleasure, pain, desire and emotion. Sensation (but not affect) is both ‘fine-grained’ (having orderly causal connections with its fundamental explanatory items) and ‘immediate’ (being provoked absent any mediating psychological state). Emotions, by contrast, are mediated and coarse-grained. Pleasure and pain are coarse-grained but, in a range of important cases, immediate. TheTheaetetusassimilates affect to sensation in a way theTimaeusdoes not. Smell frustrates Timaeus because it is (...) coarse-grained, although unlike pleasure and pain it is so by accident of physiology. (shrink)