Within the framework of the discussion about the existence of a spokesman in the Platonic dialogues, we look, in the first part, into the possible transfer of this spokesman’s function from Socrates to the Eleatic Stranger, identifying the contact and divergence points between both characters. In the second part, we try to show that this transfer has a dramatic staging at the beginning of the Sophist dialogue, where Socrates makes a demand that enables the Stranger to demonstrate his genuine philosophical (...) condition. (shrink)

The present work has the object of investigating the relation between emotion and persuasion in Xenophon’s Cyropaedia, not only by analyzing its lexical expressions, but also the emotional scenarios and the context in which they manifest. The Cyropaedia, usually considered as the epitome of Xenophon’s theory of leadership, shows us a crucial characteristic of Cyrus: his capacity of appealing to different emotions depending on the audience. This inquiry will allow us to trace the constitutive elements of a possible theory of (...) emotions in Xenophon, which we will see, differs partially from the Aristotelian treatment in the Rhetoric, but also from his historiographic predecessors, Herodotus and Thucydides. Xenophon's theory reveals a complexity that exceeds the mere appellation to emotions through speech as a means of persuasion and shows an intimate relation with the fourth century B.C. political and constitutional discourse. (shrink)

In the present essay I would like to explore the different meanings of the emotion named Schadenfreude from a perspective integrating Plato’s and Aristotle’s moral philosophy with the analyses of phenomenological anthropologists such as Scheler, Plessner and Blumenberg. In the first half of my essay I will focus on Aristotle’s distinction between, on the one hand, a pleasure at another’s misfortune which does not necessarily obstruct pity in the opposite position and provides relief from indignation, and a malicious pleasure at (...) another’s misfortune understood as the opposite of envy. In the second half of the essay I will examine the link between the joy involved in Schadenfreude and laughter by asking whether and to what extent this contemplative emotion contributes to the emergence of a theoretical attitude. (shrink)

Abstract: In the Philebus, Socrates constructs a dialectical argument in which he purports to explain to Protarchus why the pleasure that spectators feel when watching comedy is a mixture of pleasure and pain. To do this he brings in phthonos (malice or envy) as his prime example (47d-50e). I examine the argument and claim that Socrates implicitly challenges Protarchus’ beliefs about himself as moderate and self-knowing. I discuss two reasons to think that more is at stake in the argument than (...) the mixed pleasure and pain of comic malice. (shrink)

Existing attempts to understand the relationship between violence and stability within Classical Athens are undermined by their failure to compare democracies with oligarchies. The exclusionary policies of oligarchies created a fragile political equilibrium that required considerable regulation if oligarchic regimes were to survive. By contrast, the inclusiveness of democracies largely defused the danger that disputes would lead to regime collapse. Citizens of democracies faced fewer incentives to police their behavior, resulting in higher levels of public disorder and violence; this violence, (...) however, was at the same time less likely to escalate into deadly force and stasis. The distinctive cultures of democracies and oligarchies were determined in part by considerations of basic political order. (shrink)

Taking as its starting point a previous work by the author which reviewed early philosophical sources on jealousy and proposed both a conceptual and moral account of this much-maligned emotion, the present article reviews the relevant philosophical literature from the last decade or so. Most noticeable is how scarce those sources still are. Special attention is given, however, to a new conceptual model proposed by Purshouse and Fredericks which rejects the standard architectonic of jealousy as a three-party compound emotion. While (...) the essential contours of the new model are rejected, Fredericks is shown to offer some powerful misgivings about putative instrumentalist defences of jealousy. In addition to this new model, a number of other recent writings about jealousy – historical, conceptual and moral – are subjected to critical scrutiny in this overview article. (shrink)

Taking as its starting point a previous work by the author which reviewed early philosophical sources on jealousy and proposed both a conceptual and moral account of this much-maligned emotion, the present article reviews the relevant philosophical literature from the last decade or so. Most noticeable is how scarce those sources still are. Special attention is given, however, to a new conceptual model proposed by Purshouse and Fredericks which rejects the standard architectonic of jealousy as a three-party compound emotion. While (...) the essential contours of the new model are rejected, Fredericks is shown to offer some powerful misgivings about putative instrumentalist defences of jealousy. In addition to this new model, a number of other recent writings about jealousy – historical, conceptual and moral – are subjected to critical scrutiny in this overview article. (shrink)

Chariton’s novel, Chaereas and Callirhoe, is intensely interested not only in the emotional experience of the protagonists but also in the emotional effect the narrative has on readers. Among the many emotions depicted within the text, one stands out for its architectonic function: jealousy. Jealousy articulates the plot and propels it forward. Jealousy is also represented as a fundamentally “readerly” emotion: scenes of reading focus on the potential of written texts to stir jealous emotions. Similarly, scenes of embedded narration focus (...) on the jealous reactions of narratees. The plot achieves closure when Chaereas learns to manage his jealousy as narratee and narrator. His experience, however, has implications also for Chariton and his readers. The text’s representation of jealousy as a narrative and textual force speaks both to the experience of writing in a culture that prizes the imitation of prestigious models and to the experience of reading a text that self-consciously hybridizes those models. (shrink)