This chapter presents an excerpt from the The Republic with Socrates conversing with Glaucon. Socrates shows Glaucon the figure of a cave to explain how far our nature is enlightened or unenlightened. He shows prisoners in an underground den facing a wall and shackled in such a way that they cannot move, and can only see before them. Men walk behind the prisoners, they and the objects they carry cast shadows on the cave wall. Knowing nothing of the (...) real causes of the shadows, the prisoners naturally mistake these shadows for the real nature of things. Plato asks whether this is analogous to our own understanding of reality; that is, is the human condition such that our grasp of reality is only partial, catching only the slightest glimpse into the true nature of things, like the prisoners’ world of shadows?. (shrink)

Book Seven of The Republic begins with the famous Allegory of the Cave, an exploration of the natural process of being educated. Socrates and Glaucon probe the meaning of this story both as it relates to the discussion of knowledge and reality developed earlier and to the concept of dialectic, the over-all method of Plato's dialogues. In Book Eight, Socrates and Plato's brothers explore five different kinds of republic and five different kinds of individual, showing how aristocracy (...) becomes timocracy and how oligarchy spawns democracy, ending with the evolution of tyranny. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

Book Seven of The Republic begins with the famous Allegory of the Cave, an exploration of the natural process of being educated. Socrates and Glaucon probe the meaning of this story both as it relates to the discussion of knowledge and reality developed earlier and to the concept of dialectic, the over-all method of Plato's dialogues. In Book Eight, Socrates and Plato's brothers explore five different kinds of republic and five different kinds of individual, showing how aristocracy (...) becomes timocracy and how oligarchy spawns democracy, ending with the evolution of tyranny. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

‘...if you learn to think like Peter Cave – with freshness, humour, objectivity and penetration – you will have been amply rewarded.’ :::: Prof. Felipe Fernandez-Armesto, University of Notre Dame __________________ Chapter Titles:>>> ___ 1 Lao Tzu: The Way to Tao >>> 2 Sappho: Lover >>> 3 Zeno of Elea: Tortoise Backer, Parmenidean Helper >>> 4 Gadfly: aka ‘Socrates’ >>> 5 Plato: Charioteer, Magnificent Footnote Inspirer – ‘Nobody Does It Better’ >>> 6 Aristotle: Earth-Bound, Walking >>> 7 Epicurus: Gardener, (...) Curing the Soul, Ably Assisted by Lucretius >>> 8 Avicenna: Flying Man, Unifier >>> 9 Descartes: With Princess, With Queen >>> 10 Spinoza: God-Intoxicated Atheist >>> 11 Leibniz: Monad Man >>> 12 Bishop Berkeley, ‘That Paradoxical Irishman’: Immaterialist, Tar-Water Advocate >>> 13 David Hume: The Great Infidel or Le Bon David >>> 14 Kant: Duty Calls, Categorically >>> 15 Schopenhauer: Pessimism With Flute >>> 16 John Stuart Mill: Utility Man, With Harriet, Soul-Mate >>> 17 Søren Kierkegaard: Who? >>> 18 Karl Marx: Hegelian, Freedom-Fighter >>> 19 Lewis Carroll: Curiouser and Curiouser >>> 20 Nietzsche: God-Slaying Jester, Trans-Valuer >>>> 21 Bertrand Russell: Radical, Aristocrat >>> 22 G. E. Moore: Common-Sense Defender, Bloomsbury’s Sage >>> 23 Heidegger: Hyphenater >>> 24 Jean-Paul Sartre: Existentialist, Novelist, French >>> 25 Simone Weil: Refuser and Would-Be Rescuer >>> 26 Simone de Beauvoir: Situated, Protester, Feminist >>> 27 Ludwig Wittgenstein: Therapist >>> 28 Hannah Arendt: Controversialist, Journalist? >>> 29 Iris Murdoch: Attender >>> 30 Samuel Beckett: Not I >>>. (shrink)

The first part of this paper argued that the traditional application of the Cave to the Line was not intended by Plato, and led to a misunderstanding of both similes. The Cave, it was said, is attached to the simile of the Sun and the Line by the visible region outside the cave, which is a reintegration of the symbolism of sun, originals and images in the sunlight, and the new system of objects inside the cave (...) is compared and contrasted with the natural objects in the visible outside. As we know that the natural symbolism illustrates the Platonic education, our main task in this paper will be to find the meaning of the cave, untrammelled by the associations of the lower line. (shrink)

The Allegory of the Cave (Pl. Resp. 514a1–520e2) is often analyzed in terms of metaphysical, epistemological, political, and psychic hierarchies that are clarified and reinforced by philosophical education. But the Allegory also contains an important historical allusion to the silver mining that took place in classical Attica. Examining the Cave in light of the enslaved miners around Lavrio leads us to reconsider the philosophical ‘liberation’ (λύσιν … τῶν δεσμῶν, 515c4) at the Allegory’s heart in the context of Athenian (...) slavery and Plato’s thoughts on the practice. Elsewhere in his work Plato generally uses servile metaphors in two ways: to depict ‘bad’ internal psychic subjection and ‘good’ submission to logos as manifested in various entities. This historical dimension of the Allegory works to undermine the ostensible naturalness of the slave/citizen distinction and suggest that philosophical education has the potential to ‘free’ the former and ‘subjugate’ the latter. The implication that these juridical categories are, to an extent, arbitrary and mutable reveals important differences between Plato’s views and those of his classical peers, and it adds to the dialogue’s protreptic dimension for its readers then and now. (shrink)

Plato’s Allegory of the Cave is both a staple in the philosopher’s diet and the lesson that is often difficult to digest. In this paper, I describe one way to teach the Sun, Line, and Cave analogies in reference to students’ personal past experiences. After first learning about Plato’s metaphysics and epistemology through reading Republic VI-VII, students are asked to reflect upon a time in their lives when they emerged from a particular “cave of ignorance.” In reflecting (...) on this experience, students are encouraged to consider how each aspect of the line analogy might be represented in their own experience. Students also consider the epistemological experience turning towards that which is more real. In so doing, students gain a deeper understanding of these lessons by connecting new, abstract, and difficult information to information that is so familiar, it is remembered and not merely imagined. Putting Plato’s theories into the context of their own learning experiences facilitates students’ comprehension of the different levels of being and cognition, their interrelation, and the psychological process of increasing understanding. (shrink)

Barnes focuses and examines Plato’s ideals on life through “Allegory of the Cave”. The nature of selfhood, moral/ political issues, and enlightenment demonstrate in any classroom the alternatives to a dry session on philosophy to young children through an engaging discussion.

From student protests over the teaching of canonical texts such as Plato's Republic to the use of images of classical Greek statues in white supremacist propaganda, the world of the ancient Greeks is deeply implicated in a heated contemporary debate about identity and diversity. In Plato's Caves, Rebecca LeMoine defends the bold thesis that Plato was a friend of cultural diversity, contrary to many contemporary perceptions. Through close readings of four Platonic dialogues--Republic, Menexenus, Laws, and Phaedrus--LeMoine shows that, (...) across Plato's dialogues, foreigners play a role similar to that of Socrates: liberating citizens from intellectual bondage. (shrink)

No part ot Plato's writings has been more debated than the three similes in Books VI.-VII. of the Republic, and still there is a diversity of opinion about their meaning. I believe that most of these difficulties arise from certain assumptions about their purpose which need revision. The current view applies the Cave to the Line, as Plato seems to direct, and this application, which is itself attended by considerable difficulties, leads to an assimilation of the two figures (...) till they seem to have much the same content and purpose. Again, as this makes the lower line appear to be the phenomenal world, it is thought that the simile of the sun foreshadows the theme of the Line by hinting at a connexion between the intelligible and the sensible which is made more explicit in the Line. Thus the group of similes seem mainly intended to show the dependence of Becoming upon Being. This paper will argue that such a view depends upon the misrepresentation of the symbolism adopted by Plato, that two antithetical groups of symbols are confused with one another, and that symbols are even identified with antitypes. Owing to these misinterpretations the Form of the Good has been mistaken for a material cause; both the Line and the Cave have been thought to reveal Plato as embarrassed by a dualism between sense and intellect, and the purpose of the Cave in particular, since the error is cumulative, has been completely obscured. This paper will attempt to substitute for current accounts another interpretation which will relate the three similes closely with the political arguments of Book VI., and with the Platonic education which is set forth in close connexion with them. (shrink)

Shadow Philosophy: Plato’s Cave and Cinema is an accessible and exciting new contribution to film-philosophy, which shows that to take film seriously is also to engage with the fundamental questions of philosophy. Nathan Andersen brings Stanley Kubrick’s film A Clockwork Orange into philosophical conversation with Plato’s Republic , comparing their contributions to themes such as the nature of experience and meaning, the character of justice, the contrast between appearance and reality, the importance of art, and the impact of images. (...) At the heart of the book is a novel account of the analogy between Plato’s allegory of the cave and cinema, developed in conjunction with a provocative interpretation of the most powerful image from A Clockwork Orange , in which the lead character is strapped to a chair and forced to watch violent films. Key features of the book include: a comprehensive bibliography of suggested readings on Plato, on film, on philosophy, and on the philosophy of film a list of suggested films that can be explored following the approach in this book, including brief descriptions of each film, and suggestions regarding its philosophical implications a summary of Plato’s Republic , book by book, highlighting both dramatic context and subject matter. Offering a close reading of the controversial classic film A Clockwork Orange , and an introductory account of the central themes of the philosophical classic The Republic , this book will be of interest to both scholars and students of philosophy and film, as well as to readers of Plato and fans of Stanley Kubrick. (shrink)

No part ot Plato's writings has been more debated than the three similes in Books VI.-VII. of the Republic, and still there is a diversity of opinion about their meaning. I believe that most of these difficulties arise from certain assumptions about their purpose which need revision. The current view applies the Cave to the Line, as Plato seems to direct, and this application, which is itself attended by considerable difficulties, leads to an assimilation of the two figures (...) till they seem to have much the same content and purpose. Again, as this makes the lower line appear to be the phenomenal world, it is thought that the simile of the sun foreshadows the theme of the Line by hinting at a connexion between the intelligible and the sensible which is made more explicit in the Line. Thus the group of similes seem mainly intended to show the dependence of Becoming upon Being. This paper will argue that such a view depends upon the misrepresentation of the symbolism adopted by Plato, that two antithetical groups of symbols are confused with one another, and that symbols are even identified with antitypes. Owing to these misinterpretations the Form of the Good has been mistaken for a material cause; both the Line and the Cave have been thought to reveal Plato as embarrassed by a dualism between sense and intellect, and the purpose of the Cave in particular, since the error is cumulative, has been completely obscured. This paper will attempt to substitute for current accounts another interpretation which will relate the three similes closely with the political arguments of Book VI., and with the Platonic education which is set forth in close connexion with them. (shrink)

In Part I of his paper Cooper gives indisputable evidence regarding Plato's use of the man-made image as a step to the apprehension of a Form under discussion, whether that image be in fact a diagram or a model, or simply a verbal picture, such as his imaginative account of Justice within a community, which we find used to provide us with in Republic 443 c 4 ff. However, Cooper goes on to assure us that the divided-line figure offers (...) us only three types of object: ‘We have three kinds of objects which differ from one another in clearness and esteem, firstly, the Forms, secondly, the objects of ordinary sense-perception, and thirdly, images, shadows and reflections.’ Now the admitted fact that, as he notes, Republic 10 gives the same three orders of reality, does not entirely absolve Cooper from all the implications of Plato's decision to divide his line into four parts rather than three; for it is made quite clear in 509 b 6–10 that the Form of the Good, is the source of being as well as of knowledge, so the Line must also classify both. (shrink)

The similes of the Sun, Line, and Cave in the Republic remain a reproach to Platonic scholarship because there is no agreement about them, though they are meant to illustrate. I propose to analyse the form of the argument, a clue that has never been properly weighed. The Greek theory and practice of analogia and diairesis give good evidence about the method that Plato adopted; if this usage were respected, the analogical argument would not be so loosely interpreted, and (...) the double diairesis and proportion that the Line actually is could not be mistaken for a classification. I hope also to show that Plato's terminology is definite and consistent; here too ancient usage helps to establish his meaning. (shrink)

Current interpretations of Plato’s cave are obviously incorrect because they do not explain how what we hear does not come from what we see. I argue that Plato is saying that the colors we receive from our faculty of vision do not cause the sounds that we receive from our faculty of hearing. I also show how we do not see ourselves or one other, how the shadows on the wall of the cave are images of that which (...) casts them and therefore have less reality than them, and how the cave illustrates the divided line’s concern for the relationship between Forms and visible reality. The paper is structured around the two great riddles of the divided line: how Forms can be more real than everyday objects, and how one can know the unhypothesized beginning with complete certainty. I further argue that the puppets that cast shadows stand for the immanent Forms of the Phaedo and also for the moving Forms of the Timaeus. That of which these puppets are themselves images would thus stand for the Forms as they are in themselves of the Phaedo or the indestructible Forms of the Timaeus. ‘Plato used to ask whether the discussion was proceeding from or leading up to fundamental principles, just as in a race course there is a difference between running from the judges to the far end of the track and running back again.’ – Aristotle, Nicomachean Ethics 1095. (shrink)

Current interpretations of Plato’s cave are obviously incorrect because they do not explain how what we hear does not come from what we see. I argue that Plato is saying that the colors we receive from our faculty of vision do not cause the sounds that we receive from our faculty of hearing. I also show how we do not see ourselves or one other, how the shadows on the wall of the cave are images of that which (...) casts them and therefore have less reality than them, and how the cave illustrates the divided line’s concern for the relationship between Forms and visible reality. The paper is structured around the two great riddles of the divided line: how Forms can be more real than everyday objects, and how one can know the unhypothesized beginning with complete certainty. I further argue that the puppets that cast shadows stand for the immanent Forms of the Phaedo and also for the moving Forms of the Timaeus. That of which these puppets are themselves images would thus stand for the Forms as they are in themselves of the Phaedo or the indestructible Forms of the Timaeus. ‘Plato used to ask whether the discussion was proceeding from or leading up to fundamental principles, just as in a race course there is a difference between running from the judges to the far end of the track and running back again.’ – Aristotle, Nicomachean Ethics 1095. (shrink)

In Part I of his paper Cooper gives indisputable evidence regarding Plato's use of the man-made image as a step to the apprehension of a Form under discussion, whether that image be in fact a diagram or a model, or simply a verbal picture, such as his imaginative account of Justice within a community, which we find used to provide us with in Republic 443 c 4 ff. However, Cooper goes on to assure us that the divided-line figure offers (...) us only three types of object: ‘We have three kinds of objects which differ from one another in clearness and esteem, firstly, the Forms, secondly, the objects of ordinary sense-perception, and thirdly, images, shadows and reflections.’ Now the admitted fact that, as he notes, Republic 10 gives the same three orders of reality, does not entirely absolve Cooper from all the implications of Plato's decision to divide his line into four parts rather than three; for it is made quite clear in 509 b 6–10 that the Form of the Good, is the source of being as well as of knowledge, so the Line must also classify both. (shrink)

The similes of the Sun, Line, and Cave in the Republic remain a reproach to Platonic scholarship because there is no agreement about them, though they are meant to illustrate. I propose to analyse the form of the argument, a clue that has never been properly weighed. The Greek theory and practice of analogia and diairesis give good evidence about the method that Plato adopted; if this usage were respected, the analogical argument would not be so loosely interpreted, and (...) the double diairesis and proportion that the Line actually is could not be mistaken for a classification. I hope also to show that Plato's terminology is definite and consistent; here too ancient usage helps to establish his meaning. (shrink)

This chapter explores the comedy of George Carlin (1937–2008) as a powerful statement about the value of truth over ignorance. Carlin challenged his audience to confront the truth, regularly using clever rhetorical strategies to force viewers to grapple with inconvenient realities about the world in which they lived. This chapter examines historical and contemporary philosophical arguments for the importance of the pursuing truth over comforting fictions. I begin with Plato’s Allegory of the Cave, which argues it is preferable to (...) know reality as it truly is over appearances of the truth, even when it’s painful or difficult. I then discuss Nozick’s argument that humans would not want to plug into a pleasurable experience machine. Last, I examine contemporary arguments that there are distinctly moral reasons for pursuing the truth. I show how there are examples of all three arguments in Carlin’s comedic work, and suggest we can consider Carlin’s work a critical commentary that reveals multiple reasons for valuing truth over enticing fictions. (shrink)

Scientific exploration and thus our knowledge about the outside world is subject to the conditions of our experience.These conditions are condensed here into an interface model which,besides being physical,has an additional interface structure not reducible to physics. We suggest that this structure can dynamically be characterized by separate modes.Their selection and operation presupposes free will and a rudimentary concept of time and space. Based on some analogies with quantum networks it is argued that the 'observed' gets 'dressed'as a consequence of (...) the observing. Interface dynamics and system dynamics supplement each other without over- determination. (shrink)

In Republic, Plato presents a pedagogy whose crucial component is the conversion of the student’s soul. This is clearest in the Allegory of the Cave, where the prisoner begins her liberation by turning herself away from the images on the wall. Conversion is not something we professors typically seek to provoke in a philosophy course, even when we teach Plato. But if this were our goal, what could we do to achieve it within the limits of the modern university? (...) I present one such effort, a paper that uses the Allegory to focus on two questions: who are you, and how did you become that way? After presenting both the prompt and its rationale, I summarize six student submissions and discuss how I evaluated them. I conclude by considering the risks and possibilities of addressing the whole soul and not simply the intellect. (shrink)

Everyone misses the point of Plato's cave. What a coincidence, because everyone also misses the point of BioShock. The moment one's interactivity with the game is revealed as a fake isn't the moment when one kills Andrew Ryan in a cutscene. It's what happens after that. Atlas tells to abort the self‐destruct sequence. One has the choice of whether to abort self‐destruct sequence or not, but, positioned as it is, that choice has been exposed as meaningless within the (...) basic fabric of game's mechanics. The non‐choice of disarming self‐destruct sequence ends up in the same place as the other, more famous ethical dilemma of BioShock; the choice of whether to harvest the Little Sisters or to save them. That's the part that everyone gets wrong where BioShock is concerned, and so it's the part where comparing the game to Plato's cave can really help get both of them right. (shrink)

Detailed exploration of the Allegory of the Cave, utilizing notions from film studies, may provide us with insight regarding the identity of the puppet masters in Plato's allegory.

We often read Plato’s cave allegory for its trajectory: out of darkness into light. The back of the cave—where imagination projects fantasies onto shadows—is a place to flee. This part of the allegory reduces reality testing to thought or imagining, ignoring action and the people or things engaged. Yet thinkers prominent in our time—Immanuel Kant and W. V. O. Quine—suppose that our experience of the world is that of the cave’s prisoners: we too mistake fantasies for reality. (...) This is an odd stance when practical life and science—beliefs informed by action and experiment—are better tests of reality than their arguments for world‐making. (shrink)

Plato’s simile of the cave has for over two millennia been the model for a particular understanding of the limitated nature of human knowledge. Castoriadis’s understanding of human knowledge differs from Plato’s in that the artificiality of knowledge, and by extension of culture and society in general, is seen not as a barrier to true knowledge but as a necessary precondition for any knowledge whatsoever. Plato dreams of leaving the cave and encountering the world in the clear light (...) of day; Castoriadis contends that the labyrinth of human creation is our only means of encountering the real. Plato tries to use philosophy to design a way out of the traps humans find themselves in, traps they build for themselves. Castoriadis seeks no such escape and believes that to make such an ultimate escape the business of philosophy or politics is misguided, if not dangerous. (shrink)

We are not today close to producing a computer that could convince us that it is intelligent. Some philosophers have argued that we are not even appreciably closer to this goal than we were ten years ago. But why should artificial intelligence even be considered possible? In this paper I shall argue that the temptation to believe in the possibility of AI stems from a misunderstanding about the nature of ideas; further, this misunderstanding can be traced back at least to (...) Plato’s presentation of the metaphor of the cave. A phenomenological view of the nature of ideas removes the temptation to believe in the possibility of AI as presently considered. (shrink)

A provocative study of the complex relations between philosophy and journalism.

This exposition attempts to explore the question of the relationship between thinking and reality in the current technico-technological disappearance-in-appearance. All fundamental philosophical questions are covertly related with it, and above all the question of the possibility of thinking?from? or?beyond? the reality which appears/disappears. The contemporary debate thus returns to the transcendent-immanent character of the thought which, as a question of possible justification of philosophical knowledge, can be compared with its traditional forms and modes of execution in spite of the new (...) situation in its appearance. The field of this dance is a new?cave wall? that stages technics and technology in their powerful performance. nema. (shrink)

beginning with Plato, and moving through Descartes, Marx, and Susan Griffin's Woman and Nature. [1] This sequence of writers displays a developing critique of idealism, the assumption that reality is determined by pure thought. Conversely, we also see in them a growing appreciation of the material world and the human body.

Reviews have something in common with the structure of reflection. Just as a reflection can in turn be made the object of a reflection, a review also can in turn be made the object of a further review - and so on ad infinitum, as Hegel was frequently accustomed to say. The fact that there is an evident risk of such a progression ad infinitum, once one embarks on the path of reviewing a review, should not, however, prevent one from (...) taking at least the first step along this path when it is necessary to do so. (shrink)

Martin Heidegger is one of the most important and influential philosophers of the 20th Century. A major figure in the development of phenomenology, his work also profoundly influenced many of the intellectual movements that followed in his wake, from Sartre's Existentialism to Derrida's deconstructionism. Towards the Definition of Philosophy brings together two seminal lectures that mark a breakthrough moment in Heidegger's thought and introduces the major themes that he would develop in his opus Being and Time.

While classical schools today typically exhibit a carefully considered approach to the linguistic arts of the trivium, the equally important mathematical arts of the quadrivium have received relatively little consideration. This being so, mathematics is often approached in ways that are not distinctly classical. This article seeks to establish the importance of the quadrivial arts as a means of ascending from lower to higher things. Though most know Plato’s comparison of a lack of education to being imprisoned in a (...) class='Hi'>cave, relatively few are familiar with the role the quadrivial arts play in ascending from the cave. Because the mathematical arts cultivate and direct the imagination, they enable students to move beyond sensible particulars to the formation of forms and figures by the mind. Thus, the mathematical arts help free us from an undue preoccupation with lower things and direct us toward the pursuit of knowledge and what truly is. (shrink)