In Plato’s Apology (29a-b), Socrates agues that he does not fear death; indeed, to fear death is a sign of ignorance. It is to claim to know what one in fact does not know (Ap. 29 a-b). Perhaps, Socrates suggests, death is not a great evil after all, but “the greatest of all goods.” At the end of the dialogue, after the judges have voted on the final verdict and Socrates has received the death penalty, the philosopher considers two common (...) views of death: that death is a long dreamless sleep and that death is a journey to another place - Hades. According to Socrates, either of these views of death would be acceptable to him; the one, because he would receive a wonderful rest with no dreams to disturb him; the other, because he would be able to talk philosophy with those who had gone before with impunity. In this paper, I will examine Socrates’ view of death, and I will argue that, according to Socrates, there could be a third perspective on death that will not only make him truly immortal in a certain way, but will also immortalize the practice of Socratic philosophy. Hence, Socrates embraces his sentence because dying at the right time and dying in the right way provides him the possibility of a good death. <br><br>. (shrink)

The ancients, Friedrich Nietzsche notes, held Homer's objective art and Archilochus's subjective art in equally high esteem. However, if a work of art must be "objective," how are we to understand the subjective artist, who, like Archilochus, produces art from his own subjective experience? Guided by a clue from Schiller's May 18, 1796 letter to Goethe, Nietzsche employs Schopenhauer's theory of music in his consideration of the subjective artist. Turning to Paul Ricoeur's distinction between image as copy and image as (...) fiction, I argue, will assist us in understanding how Nietzsche resolves the problem of the subjective artist. (shrink)

An exposition of Karl Marx’s argument in the Grundrisse for the logical development of money, this essay is divided into three parts. Since Marx is concerned to distinguish himself and his method from that of the seventeenth century political economists, I begin my paper with a brief reflection on “the scientifically correct method” or the “theoretical method” (Grundrisse 101 and 102). The second part of this paper considers how Marx justifies beginning his reflection with the concept of production in general. (...) To understand the importance that Marx attributes to production, one must also appreciate the way in which distribution, exchange, and consumption belong to the sphere of production. In the remaining pages of this section of my paper, then, I attempt to reconstruct Marx’s argument for the way in which these concepts (distribution, exchange, and consumption) are to be understood in relation to the sphere of production. (shrink)