Plato: Aesthetics

The critique of the poetry in Plato’s Ion unfolds in a clearly political context in which, in contrast to the old model of knowledge represented by poetry, Plato presents a new model, identified with philosophy, which questions the legitimacy of poets and rhapsodists as competent guides of the polis and citizens. In this critique, the characters and dramatic elements of dialogue are fundamental. Thus in Ion and Socrates the Athenian philosopher brings together all the characteristics that describe a real rhapsodist (...) of that time as well as the philosophical activity of the historical Socrates. (shrink)

-/- In Plato's work the "Sophist", Socrates, who typically occupies a central position in Plato's dialogues, is assigned a supporting role. This has led some scholars to argue for a shift in Plato's oeuvre, where he distances himself from Socrates and introduces a new main protagonist. However, this new protagonist remains unnamed and is only identified by his social position as Xenos, indicating that he is an outsider and a stranger whose identity is ambiguous. In this article, I argue that (...) Plato's decision to leave the character unnamed serves to raise a first problem: the question of whether this stranger is a friend or an adversary of philosophy. At the beginning of the dialogue, Socrates employs a series of references to Homer to bring into play a second problem: the problem of disguise. The third problem, “What is a sophist?”, is attributed to the Xenos. This is the only problem that is explicitly developed and is, therefore, the most prominent in the dialogue. If we relate these three problems to each other, it becomes clear that they represent contradictory intuitions without providing us with a strict criterion for deciding which of these intuitions is correct. By presenting these problems in their entanglement without providing a way out, Plato invites his readers to think without making explicit what the outcome of this thinking should be. -/- [In Dutch: In de "Sofist" speelt Sokrates, vaak het meest prominente personage in Plato’s dialogen, alleen maar een bijrol. Dit heeft veel interpreten ertoe verleid om een breuk in het oeuvre van Plato te postuleren, waarbij Plato afstand zou nemen van Sokrates ten behoeve van een nieuw personage. Ik zal echter laten zien dat Plato er bewust voor kiest om dit nieuwe personage naamloos te laten en hem alleen aan te duiden via zijn sociale positie als xenos (vreemdeling). Hiermee roept Plato, zo zal ik betogen, impliciet een eerste probleem op: is deze naamlo- ze Xenos een vriend of een vijand van de filosofie? Aan het begin van de dialoog wordt er door Sokrates een tweede probleem in spel gebracht: het probleem van de vermomming. Het derde probleem — ‘wat is een sofist?’ — wordt toegeschreven aan de Xenos. Dit is het enige probleem dat expliciet wordt uitgewerkt en is dan ook het meest prominent aanwezig in de dialoog. Als we deze drie problemen op elkaar betrekken dan wordt duidelijk dat ze tegenstrijdige intuïties vertolken, zonder dat we een strikt criterium krijgen aangereikt om te beslissen welke van deze intuïties de juiste is. Door deze problemen in een nog niet ontwarde kluwen te presenteren, nodigt Plato zijn lezers uit tot denken, zonder expliciet te maken wat de uitkomst van dit denken zou moeten zijn.]. (shrink)

Eğer estetik, sanat ve güzelliğe dair felsefi bir soruşturmaysa (veya güzelliğin –örneğin “estetik değer” gibi– güncel bir karşılığıysa), Platon’un diyaloglarının çarpıcı özelliği, her iki konuya da eşit zaman ayırması ama yine de onlara karşıtlarmış gibi muamele etmesidir. Güzellik en iyiye yakınken, çoğunlukla şiirle temsil edilen sanat, Platon’un bahsettiği herhangi bir fenomenden daha büyük bir tehlikeye yakındır. Peki, her iki pozisyonu da içeren “Platon’un estetiği” diye bir şey olabilir mi?

O objetivo deste artigo é defender uma leitura “inclusiva” da Scala Amoris (210a-212b) presente no Banquete de Platão, na qual o amante, em sua ascensão, incorpora um número cada vez maior de objetos belos em sua esfera de preocupação erótica. Neste sentido, posiciono-me de forma contrária à leitura “exclusiva”, na qual tal ascensão implicaria o abandono do que fora anteriormente desejado.

The main idea of this allegory is the difference between people who simply experience their sensory experiences, and call that knowledge, and those who understand real knowledge by seeing the truth. The allegory actually digs into some deep philosophy, which is not surprising since it comes from Plato. Its main idea is the discussion of how humans perceive reality and if human existence has a higher truth. It explores the theme of belief versus knowledge. The Perception Plato theorizes that the (...) group of people tied up in the cave would assume that the shadows they see on the wall are reality. Plato's theory further states that the echoing sounds the prisoners hear are perceived as reality. This false reality is all that the people in the cave know. They have no true knowledge of the real world. However, they fully believe that what they see on the cave wall is reality, and even try to name the shadows they see passing by. Plato's cave allegory further proposes that one of the prisoners escapes or gains freedom from the cave. The freed prisoner moves toward the fire, which temporarily blinds him. As he gains his eyesight and moves into the real world, he gains a greater sense of reality. (shrink)

This paper aims to achieve a better understanding of what Socrates means by “sumfvne›n” in the sections of the Phaedo in which he uses the word, and how its use contributes both to the articulation of the hypothetical method and the proof of the soul’s immortality. Section I sets out the well-known problems for the most obvious readings of the relation, while Sections II and III argue against two remedies for these problems, the first an interpretation of what the sumfvne› (...) n relation consists in, the second an interpretation of what sorts of thing the relation is meant to relate. My positive account in Section IV argues that we should take the musical connotations of the term seriously, and that Plato was thinking of a robust analogy between the way pitches form unities when related by certain intervals, and the way theoretical claims form unities when related by explanatory co-dependence. Section V surveys the work of IV from the point of view of the initial difficulties and suggests further consequences for the hypothetical method, including the logical relation between the sumfvne›n and diafvne›n relations, and the need for care in ordering the results of a hypothesis. -/- “But anyhow I proceeded in this way: on each occasion hypothesising the lÒgow which I judged to be strongest, I put down as true the things that seem to me to sumfvne›n with it – both about a causal account and any of the other things that are – but those things that did not I put down as false.” (Phaedo 100a3-7). -/- “But if someone clung to the hypothesis itself, you would bid him goodbye and wouldn’t answer him until you had examined its results, whether according to you they sumfvne› or diafvne› with one another.” (Phaedo 101d3-5). (shrink)

Among the educative games of Plato’s Cretan city, choral performances have a prominent role. This paper examines the function of play (παιδιά) in the choral education in virtue in Plato’s Laws. I reconstruct the notion of play as it is elaborated throughout this dialogue, and then show how it contributes to solving the problem of virtue acquisition in the Athenian’s account of moral education through songs and dances. I argue that play in the Laws is best understood an imitative activity (...) that is intrinsically pleasurable, ordered by rules and patterns of repetition, and undertaken for its own sake by a player whose psychic condition is childish. Thus interpreted, we are in a better position to see why choruses must be engaged in playfully. Because the self-likening (ὁμοίωσις) process choral performances aim at requires pleasure and because pleasure normally obtains when there is a concordance between one’s character and the imitations, virtue acquisition is best secured if the imitations of virtue in choruses are performed playfully. (shrink)

A significant strand of the ethical psychology, aesthetics and politics of Plato's Republic revolves around the concept of poikilia, ‘fascinating variety’. Plato uses the concept to caution against harmful appetitive pleasures purveyed by democracy and such artistic or cultural practices as mimetic poetry. His aim, this article shows, is to contest a prominent conceptual connection between poikilia and beauty (kallos, to kalon). Exploiting tensions in the archaic and classical Greek concept, Plato associates poikilia with dangerous pleasures to redirect admiration toward (...) a distinctly philosophical pursuit of the nature of beauty. This is to displace a prominent and problematic cultural sensibility—the aesthetics of poikilia—not to deny that fascinating variety, even in mimetic poetry, may be beautiful. Rather, Plato's cultural critique lays bare an epistemological problem in the ethical psychology of beauty: since they cannot be distinguished from what seems beautiful, how should one respond to fascinating yet dangerous attractions? (shrink)

This book plumbs the virtues of the Homeric poems as scripts for solo performance. Despite academic focus on orality and on composition in performance, we have yet to fully appreciate the Iliad and Odyssey as the sophisticated scripts that they are. What is lost in the journey from the stage to the page? -/- Readers may be readily impressed by the vividness of the poems, but they may miss out on the strange presence or uncanniness that the performer evoked in (...) ancient audience members such as Plato and Aristotle. This book focuses on the performer not simply as transparent mediator, but as one haunted by multiple stories and presences, who brings suppressed voices to the surface. -/- Performance is inextricable from all aspects of the poems, from image to structure to background story. Background stories previously neglected, even in some of the most familiar passages (such as Phoenix’s speech in Iliad 9) are brought to the surface, and passages readers tend to rush through (such as Odysseus’s encounter with Eumaeus) are shown to have some of the richest dramatic potential. Attending to performance enlivens isolated features in a given passage by showing how they work together. (shrink)

Contributors in the order of contributions: David Ebrey, Richard Kraut, T. H. Irwin, Leonard Brandwood, Eric Brown, Agnes Callard, Gail Fine, Suzanne Obdrzalek, Gábor Betegh, Elizabeth Asmis, Henry Mendell, Constance C. Meinwald, Michael Frede, Emily Fletcher, Verity Harte, Rachana Kamtekar, and Rachel Singpurwalla. -/- The first edition of the Cambridge Companion to Plato (1992), edited by Richard Kraut, shaped scholarly research and guided new students for thirty years. This new edition introduces students to fresh approaches to Platonic dialogues while advancing (...) the next generation of research. Of its seventeen chapters, nine are entirely new, written by a new generation of scholars. Six others have been thoroughly revised and updated by their original authors. The volume covers the full range of Plato's interests, including ethics, political philosophy, epistemology, metaphysics, aesthetics, religion, mathematics, and psychology. Plato's dialogues are approached as unified works and considered within their intellectual context, and the revised introduction suggests a way of reading the dialogues that attends to the differences between them while also tracing their interrelations. The result is a rich and wide-ranging volume which will be valuable for all students and scholars of Plato. (shrink)

Hans-Georg Gadamer, en su conferencia Plato und die Dichter (1934), desarrolló una investigación fenomenológica excepcional de filosofía ético-política de Platón y del lugar que el arte ocupa en ella. En mediados de la década de 1990, la escritora mexicana Teresa Orozco publicó una serie de escritos en los cuales acusa a Gadamer de haberse colocado, a través de la exhibición y publicación de este trabajo, a servicio del nacional-socialismo. Este artículo busca discutir los argumentos presentados por Orozco y otros autores, (...) en primer lugar, investigando la heterogeneidad de la recepción del texto en cuestión entre 1934 y 1944, dentro y fuera de Alemania; en segundo lugar, recuperando datos biográficos relevantes que fueron omitidos por sus detractores; y, finalmente, ofreciendo pruebas documentales que refuten los fundamentos de la acusación mencionada anteriormente. Al final, haré una propuesta de lectura metodológica para analizar el trabajo de referencia en relación a su contexto histórico, lo que puede contribuir para verificar en qué sentido esta conferencia expresaría la disidencia de Gadamer con la hegemonía Nacional-Socialista. (shrink)

The purpose of this article is to synthesize four major elements of aesthetic experience that have previously appeared isolated whenever an attempt at conceptualization is made. These four elements are: Immanuel Kant’s disinterested pleasure, Robin G. Collingwood’s emotional expressionism, the present writer’s redemptive emotional experience, and, lastly, Plato’s concept of Beauty. By taking these four abstracted elements as the bedrock for genuine aesthetic experience, this article aims to clarify the proper role of art as distinct from philosophy and intellectualization. Rather (...) than a medium conducive to intellectual understanding, it is argued that the sphere these four elements of aesthetic experience demarcate is one in which art leads to an emotional understanding that transforms the human condition and it imbues it with new meaning only to be found in a moment of aesthetic experience. (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)

Like human existence itself, our enduring legacies—whether poetic, ethical, political, or philosophical—continually unfold and require recurrent communal engagement and (re)enactment. In other words, an ongoing performance of significant works must occur, and this task requires the collective human activity of re-membering or gathering-together-again. In the Symposium, Diotima provides an account of human pursuits of immortality through the creation of artifacts, including laws, poems, and philosophical discourses that resonates with Gadamer’s account of our engagement with artworks and texts. This essay explores (...) common places among Gadamer and Plato; however, it does so through the complex character of Diotima the philosopher-priestess. Diotima’s teaching on the processive character of human existence and her understanding of knowledge as dynamic has been largely ignored. Given Gadamer’s historically oriented philosophical hermeneutics, not to mention his creative and critical engagement with Platonic themes such as beauty, recollection, and art, Diotima makes for an especially fruitful dialogue partner. (shrink)

“Sorcerer Love” is the name that Luce Irigaray gives to the demonic function of love as presented in Plato's Symposium. She argues that Socrates there attributes two incompatible positions to Diotima, who in any case is not present at the banquet. The first is that love is a mid-point or intermediary between lovers which also teaches immortality. The second is that love is a means to the end and duty of procreation, and thus is a mere means to immortality through (...) which the lovers lose one another. Irigaray argues in favor of the first position, a conception of love as demonic intermediary. E.K. (shrink)

The process learning for adults training joins in a space/time which can be considered as « communicative action ». Learning is for us a part of a space of sense referred to the notion of passage and thus process. It is well known today that one of its modalities, for adults as for children, leans on the imitation. On the other hand, the game of the interactions makes that the learnings are not passed on without an autonomous and mediate renegotiation (...) of the subjects (vicariant learning). This relation between the partners will base itself on characteristics which allow to understand the interpretation as a modality, an essential medium to an «emancipator learning». On that basis, the constructed knowledge, the knowledge in elaboration, engages a conversion of the look in the training for adults, but also that of the learner towards an empowerment of a subject and his emancipation. (shrink)

Plato provocatively characterizes truth $$ in terms of harmony $$ at various points throughout his dialogues. While limited attention has been directed toward the role of musical concepts in Plato's general cosmology, not any attention has been directed toward how musical concepts function in relation to Plato's characterization of truth. In fact, this issue has had little occasion for consideration. Almost every contemporary translator empties terms such as $\grave\alpha\rho\mu o\nu\acute\iota\alpha,$ when co-incidental with $\acute\alpha\lambda\acute\eta\theta\varepsilon\iota\alpha,$ of their musical content. As a consequence, (...) I argue, Plato's characterization of truth is made readily amenable to contemporary conceptions of truth-not necessarily a good thing since it robs us of the original richness of Plato's thought. The dissertation explores how retaining the aural meaning latent within $\grave\alpha\rho\mu o\nu\acute\iota\alpha$ and other terms of musical import serves to elucidate the rich complexion of Plato's notion of $\acute\alpha\lambda\acute\eta\theta\varepsilon\iota\alpha.$ Ultimately, I show how Plato's use of musical terminology to characterize truth informs other features of his philosophical outlook, illustrate the cohesiveness and consistency of key texts believed problematic by other commentators, and underscore significant differences between Plato's $\acute\alpha\lambda\acute\eta\theta\varepsilon\iota\alpha$ and ideas of truth prevalent today. ;For Plato, I argue $\acute\alpha\lambda\acute\eta\theta\varepsilon\iota\alpha$ bears a meaning different from its primitive sense of oracular unconcealment and its later sense of correctness $,$ and a meaning also different from other terminological alternatives $.$ Truth, accordingly, turns out for Plato to be neither mysterious and groundless nor a matter of simple correspondence to an objective reality. The value of Plato's conception of truth as harmony consists in its ability to avoid the polarity of contemporary conceptions of truth as either objectively determinate or subjectively determinate . Truth is neither arbitrarily imposed upon the world by us, nor artificially imposed upon us by an antecedently structured and independent reality. The dissertation concludes by articulating reasons for favoring Plato's theory of truth, while noting a few underlying assumptions likely problematic for some contemporary philosophers. (shrink)

This article argues against readings that tend to overlook, dismiss or reduce the profound role of poetry and myth in Plato’s Republic. It discusses and rejects the distinction between myth and poetry that we find in such readings. Then it makes the case for the irreducibility of poetry. Crucially, poetry determines both the state and the frame of mind of the dialogue’s interlocutors, and we can expect it to do the same for the Kallipoleans. The attraction of the irrational part (...) of the soul to imitative poetry entails that imitation is both beneficial and pleasant. In the last section of the article it is argued that myths, understood as false stories, play a significant role in early education. This education constitutes a critical juncture and sets up a path dependency in the lives it affects. Myths shape one’s motivational dispositions, preserve true opinions, and facilitate communicative understanding. (shrink)

Despite the discredit into which the once famous theory of Niebuhr has long sincefallen, it is beginning to appear, both to historians and to students of literature, that Epic poetry was in full process of evolution at Rome before Livius Andronicus was inspired to translate the Odyssey. There is, indeed, ample evidence to warrant such a belief; our authorities may most conveniently be considered in two main divisions. The first calls for no more than the barest mention, for it is (...) concerned with those Naeniae and Cantus Conuiuiales the existence of which is not seriously challenged by even the most conservative criticism. They are well attested, and the evidence for their extreme antiquity is familiar to every reader of Cicero. In passing we may mention also Saturnian epitaphs like those of the Scipios, and the Tituli Triumphales set up in the Capitol. Typical lines are: Fundit, fugat, prosternit maximas legiones, from the inscription of M'Acilius Glabrio, and Summas opes qui regum regias refregit. (shrink)

In his analysis of the social and economic conditions of intellectual activity in ancient Greece, Gentili argues that the value of poetry underwent a notable change in the late archaic period. Poetry came to be produced within a contractual relationship between patrons and poets, it became a commercial good available to the one who could pay for it and its value was expressed no longer by honouring the poet but by paying for his product. At the time of Solon and (...) Theognis the producers of poetry had been aristocratic members of the polis giving political advice to their peers and gaining renown by the quality of their advice. Yet Simonides and Pindar wrote under different social conditions. Gentili writes: Fully conscious by now of the dignity and importance of his role, the poet also becomes aware of its [i.e. poetry's] ‘commercial’ value. He puts his own sophia at the disposal of the highest bidder, thereby creating a basis for the tendency to regard wealth and poetic ‘wisdom’ as interchangeable moral equivalents. (shrink)