This treatise on aesthetics begins by showing that the word "art" is used as a name not only for "art proper" but also for certain things which are "art falsely so called." These are craft or skill, magic, and amusement, each of which, by confusion with art proper, generates a false aesthetic theory. In the course of attacking these theories the author criticizes various psychological theories of art, offers a new theory of magic, and reinterprets Plato's so-called "attack on art," (...) showing that it has been entirely misunderstood. Finally, he draws important inferences concerning the position of art in human society. (shrink)

The second article, in which the author suggests an analysis of other three authors' state of nature models and tries to define the role of the models in their respective law concepts. The analysis demonstrates that all three models share same basic idea, which is the concept of an independent reasonable individual; this very idea is what these different models are based upon. The concept of an individual itself does not have a substantiation.

This interpretive introduction provides unique insight into Plato's Republic. Stressing Plato's desire to stimulate philosophical thinking in his readers, Julia Annas here demonstrates the coherence of his main moral argument on the nature of justice, and expounds related concepts of education, human motivation, knowledge and understanding. In a clear systematic fashion, this book shows that modern moral philosophy still has much to learn from Plato's attempt to move the focus from questions of what acts the just person ought to perform (...) to the more profound questions of what sort of person the just person ought to be. (shrink)

The Statesman is Plato's neglected political work, but it is crucial for an understanding of the development of his political thinking. In some respects it continues themes from the Republic, particularly the importance of knowledge as entitlement to rule. But there are also changes: Plato has dropped the ambitious metaphysical synthesis of the Republic, changed his view of the moral psychology of the citizen, and revised his position on the role of law and institutions. In its presentation of the statesman's (...) expertise, the Statesman modifies, as well as defending in original ways, this central theme of the Republic. (shrink)

This incisive book fills the longstanding need for a sound, reliable, and balanced guide to the whole of Plato's philosophical work. Melling describes the different stages in Plato's philosophical development, introduces his different methods and styles of philosophy, and explains why the debates were important then and what sense we can make of them now. Against the background of the ancient Greek world, Melling illuminates Plato the man, his writings, and, above all, why his ideas should be considered important two (...) thousand years after his death. (shrink)

The article argues for the following interpretation of Plato's dialogue Ion. (1) the dialogue is designed primarily to refute Ion's claims to knowledge in his discourse about Homer—i.e. in his role as critic or eulogist of Homer; (2) as regards the rhapsode as performer and as regards the poet, it is especially the fineness of their output that cannot be explained by way of techne; and (3) Plato genuinely assumes the existence of poetic and rhapsodic technai. Points (2) and (3) (...) are compatible. It is merely that excercising a techne is not the basis of artistic success (as we would now call it). The article argues that this reading gives the dialogue greater unity and philosophical plausibility than readings that deny any techne at all to either rhapsode or poet. (shrink)

This original new book argues for a reassessment of Plato's challenge to the arts. Plato was the first great figure in Western philosophy to assess the value of the arts; he argued in the Republic that traditionally accepted forms of poetry, drama, and music are unsound. While this view has been widely rejected, Janaway argues that Plato's hostile case is a more coherent and profound challenge to the arts than has sometimes been supposed. Denying that Plato advocates "good art" in (...) any modern sense, Janaway seeks both to understand Plato's critique in the context of his own philosophy and to locate him in today's philosophy of art, showing how issues in aesthetics arise from responses to his charges. (shrink)

The book provides a commentary on Plato's Republic which encourages the reader to be stimulated to philosophical thinking by Plato's wide-ranging discussions.

This treatise on aesthetics criticizes various psychological theories of art, offers new theories and interpretations, and draws important inferences concerning ...

Gathers fragments of the writings of early Greek philosophers, including Hesiod, Anaximander, Pythagoras, and Zeno.

“Principium Sapientiae. Los orígenes del pensamiento filosófico griego” fue publicado póstumamente en 1952 y estaba prácticamente acabado, a salvo de algunos aspectos de los capítulos finales, cuando a Cornford le sobrevino la muerte. La edición ha sido preparada por W. K. C. Guthrie, que ha añadido una breve introducción y un apéndice. “Principium Sapientiae” ofrece una perspectiva general sobre el pensamiento de su autor a la vez que añade material nuevo a los trabajos anteriores. Hoy es ya una obra clásica.