At Plato’s Phaedrus 270c, Socrates asks whether one can know souls without knowing ‘the whole.’ Phaedrus answers that ‘according to Hippocrates’ the same demand on knowing the whole applies to bodies. What parallel is intended between soul-knowledge and body-knowledge and which medical passages illustrate the analogy have been much debated. Three dominant interpretations read ‘the whole’ as respectively (1) environment, (2) kosmos, and (3) individual soul or body; and adduce supporting Hippocratic passages. But none of these interpretations accounts for the (...) Phaedrus’ rhetorical method. A better reading sees the whole as the genos ‘soul,’ as the Phaedrus’ taxonomies divide that genus. (shrink)

What makes serious scholarship in this area especially daunting is that there is no single authoritative statement of Dewey’s ethics. Indeed, the puzzle pieces of Dewey’s ethical theory are distributed throughout the 37 volumes of his collected works (The Collected Works of John Dewey 1882–1953, Early, Middle and Later Works, edited by Jo Ann Boydston, Southern Illinois University Press, 1967–1987, hereafter CW). Pappas assures his readers that a cohesive account of Dewey’s ethics is not a mirage: ‘Even though Dewey (...) never wrote a single comprehensive and definitive rendition of his moral thought, he had a coherent and complex view worth reconstructing and reconsidering today’ (p. 300). The book is organized into three thematic sections: (i) the metaethics or what Pappas calls ‘the methodological commitments that form the basis of Dewey’s reconstruction of moral theory’ (p. 301), (ii) the metaphysics of Dewey’s ethics or those generic traits that pervade morally problematic situations and (iii) the normative ethics, extending to Dewey’s democratic ideal and its justification within experience. (shrink)

Plato’s most infamous discussions of poetry in the Republic, in which he both develops original distinctions in narratology and advocates some form of censorship, raises numerous philosophical and philological questions. Foremost among them, perhaps, is the puzzle of why he returns to poetry in Book X after having dealt with it thoroughly in Books II–III, particularly because his accounts of the “mimetic” aspect of poetry are, on their face, quite different. How are we to understand this double treatment? Here I (...) will focus on a single aspect of this question, the compatibility of the notion of μίμησις and its cognates in the two books. As Nickolas Pappas has said, “Whether Books 3 and 10 offer compatible accounts of mimêsis, and how one might make them compatible, remains the most controversial question about Plato’s aesthetics”.2 I will show that there is a single notion of μίμησις operative throughout, namely that of representation by resemblance. I will take an unusual tack. I will not begin with the most problematic part of Book III for this interpretation about poetic, linguistic μίμησις, but with the later sections on musical μίμησις. Once we have an account of this, I claim, it is easier to see how narrative μίμησις is also a kind of representation by resemblance. (shrink)

the two-and-a-half years that Dewey lived in Japan and China offered him an East-West comparative standpoint to examine Euro-American presuppositions. In subsequent work, he took steps in the direction of a global philosophical outlook by promoting a fusion of aesthetic refinements with democratic experimentalism. The year 2021 marks the centennial of Dewey’s return to the United States, yet philosophers in this country have only begun to take in an emerging global philosophical scene that includes unfamiliar questions, angles, idioms, and emphases. (...) This includes American pragmatists. In a sense, as Gregory Pappas has observed in the context of Latin American philosophies, pragmatism did not “grow up” in the United... (shrink)

In Plato’s Ion we find Socrates engaged in a conversation with the rhapsode Ion. During the course of the dialogue, Socrates gives a critical account of the nature of the rhapsode’s profession. But what exactly is it that Socrates criticises? And is his account entirely critical or does he, in the end, attach some positive value to the rhapsode’s profession in virtue of its being a ‘divinely inspired’ activity?1 In this essay I shall argue that Socrates does in fact give (...) an entirely critical account of the rhapsode’s profession. Thus I agree with Nickolas Pappas, who says that “the claim of poetic madness is as derogatory as any other imputation of insanity.”. (shrink)

In the past four years, a small but intense debate has transpired on the margins of mainstream scholarship in the discipline of Philosophy, particularly within the sub-field of American pragmatism. While most philosophical pragmatists dedicate their attention to questions concerning how ideas improve experience (or the theory-practice continuum), those participating in this exchange have shown greater concern for an issue that is, at its core, a theoretical matter: Does the theory of experience espoused by the classic American philosopher John Dewey (...) succumb to what contemporary analytic philosophers—for instance, Wilfred Sellars, Donald Davidson and John McDowell—call the Myth of the Given? One commentator, Scott Aikin, claims that Dewey relied on non-inferential and non-conceptual content or givens as perceptual inputs for cognitive experience. The upshot of Aikin’s objection is that these experiential givens constitute a proxy epistemological foundation for the beliefs that flow from inquiry—a position clearly in conflict with Dewey’s commitment to anti-foundationalism. The objection assumes a slightly different form in the hands of another scholar of American pragmatism, Colin Koopman. Gregory Pappas and David Hildebrand respond to Koopman’s version of the objection. The goals of this essay are to clarify the objection, highlight the stakes in the debate, identify misunderstandings of Dewey’s experiential metaphysics on both sides, and determine why the experiential givenism objection merits serious philosophical scrutiny in the future. (shrink)