Für Gorgias ist Sprache und Rede nicht ein neutrales Medium zur Übermittlung von Sachverhalten, sondern selbst eine Sache eigener Art und als solche hervorragendstes Organ des Menschen, seine Welt praktisch zu verändern. Mitteilung ist Teilnahme an Situationen, die für Menschen jeweils relevant und bewegend sind. Hörend speichern wir nicht Informationen, sondern finden uns ein in die Zugehörigkeit zu den Sachen und Personen von »Interesse«, denen wir so eine Mitsprache in unserem Leben einzuräumen bereit sind. Allein auf solch ein Grundverständnis von (...) Sprache baute eine mit öffentlicher Funktion betraute Rhetorik und allein hierauf baut auch von jeher die Dichtkunst, von welcher auch Gorgias für seine Redekunst das Maß nahm. Mit der vorliegenden Neuausgabe sämtlicher überlieferter Texte und Nachrichten nebst deren erster vollständiger Übersetzung ins Deutsche wird eine der einflußreichsten Persönlichkeiten der klassischen Antike vorgestellt. Die Einleitung des Herausgebers gibt biographische Hinweise und geht ausführlich auf Gorgias’ Verhältnis zur Sprache ein. (shrink)

In Plato’s Gorgias, Socrates says to Callicles that “your love of the people, existing in your soul, stands against me, but if we closely examine these same matters often and in a better way, you will be persuaded” (513c7–d1). I argue for an interpretation that explains how Socrates understands Callicles’s love of the people to stand against him and why he believes examination often and in a better way will persuade Callicles.

In his Gorgias, Plato is not merely concerned with criticizing Sophists, tyrants, or immoral uses of rhetoric. Rather he explores the harmful consequences of living without loving wisdom. A large part of the dialogue is devoted to pointing out the difficulties associated with practicing philosophy as a way of life. These difficulties are so great that the best way of arguing for its practice is to dramatize the harmful consequences inherent in rival ways of life that deny the need for (...) wisdom. Thus the Gorgias explores the harmful effects of Callicles' denial of his need for wisdom. Socrates shows that Callicles does not know what he wants or needs. Instead of letting his awareness of ignorance blossom in love of wisdom, however, Callicles pursues power. Yet this love of power leads to disharmony and turmoil. In the Gorgias, Plato's rhetorical defence of philosophy amounts to this: the only thing more difficult than living with the love of wisdom is living without it. (shrink)

In his Gorgias, Plato is not merely concerned with criticizing Sophists, tyrants, or immoral uses of rhetoric. Rather he explores the harmful consequences of living without loving wisdom. A large part of the dialogue is devoted to pointing out the difficulties associated with practicing philosophy as a way of life. These difficulties are so great that the best way of arguing for its practice is to dramatize the harmful consequences inherent in rival ways of life that deny the need for (...) wisdom. Thus the Gorgias explores the harmful effects of Callicles’ denial of his need for wisdom. Socrates shows that Callicles does not know what he wants or needs. Instead of letting his awareness of ignorance blossom in love of wisdom, however, Callicles pursues power. Yet this love of power leads to disharmony and turmoil. In the Gorgias, Plato’s rhetorical defence of philosophy amounts to this: the only thing more difficult than living with the love of wisdom is living without it. (shrink)

This essay examines "Philoctetes" as an exercise in self-representation by looking at the self-referential and metatheatrical dimensions of the play. After suggesting an enlarged understanding of metatheater as "a particularly vigorous attempt to engage the audience at the synthetic and thematic levels of reading," I examine "Philoctetes" as a self-conscious discourse on tragedy, tragic production, and tragic experience, one which participates in a larger conversation in the late fifth century about the ethics of tragedy, including the remarks of Gorgias on (...) theatrical deception . The play points up its own constructedness in a variety of ways, most strikingly in the theatrical character of the intrigue by which Odysseus deceives Philoctetes, which provides a play within a play and a representation of texts and readers, plays and spectators. In laying bare the kinds of strategies and techniques that undergird this "intratext," "Philoctetes" offers a model of tragedy and of the tragic poet based on power, deceit, and manipulation. Yet by attributing these characteristics to the moral deficiencies of its internal creator and by demonstrating his failure to achieve his ends, "Philoctetes" rejects such a theater of sophistry. At the same time, the play considers issues of textual reception by providing in Philoctetes an audience for this internal text and a protocol of reading that suggest a more positive model of tragic response. "Philoctetes" uses this model to offer the spectator a subject position that affirms the inherent value of reading tragedy, a humanistic model of reading based upon the audience's identification with and sympathy for the tragic protagonist. Sophocles thus finds in this exercise in self-representation a way to frame critical questions on dramatic theory and to define his own dramatic practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PARODY AND THE ARGUMENT FROM PROBABILITY IN THE APOLOGY by Thomas J. Lewis Over a century ago James Riddell pointed out that Socrates' defense speech in die Apology closely followed the standard form of Athenian forensic rhetoric. He called the Apology "artistic to the core," and he identified parts of "the subde rhetoric of this defense."1 Since then many scholars have explicated the rhetorical elements in Socrates' defense.2 (...) Their work has led in turn to recent attempts to integrate the rhetorical form into an overall understanding of the meaning and significance of the Apology? The puzzle to be solved is what to make of the fact that Socrates disclaims the ability and the intention to use rhetoric in a speech which is itself a rhetorical masterpiece. R. E. Allen raises the possibility thatby using the techniques ofrhetoric and at the same time denying that he is using them Socrates is dissembling or lying. However, Allen rejects this possibility and interprets Socrates' falsehood as only a surface or apparent falsehood. According to Allen it is ironic parody of a disreputable rhetoric which seeks to convince without concern for the truth.4 For Allen the object of the parody is base rhetoric in general, the type of rhetoric denounced by Socrates in the Gorgias as "rhetoric aiming at gratification and pleasure, and indifferent to truth and the good of the soul."5 Two subsequent articles, one by Kenneth Seeskin, the other by Douglas Feaver andJohn Hare, support the view that Socrates is parodying the debased form of rhetoric. However, they place somewhat different emphasis on the exact object of the parody. They argue that the object of Socrates' rhetorical parody is Gorgias' Pahmedes, rather than pandering rhetoric in general.6 After summarizing the many rhetorical similarities between Gorgias' Palamedes and Socrates' defense speech, Seeskin concludes that "Gorgias' Philosophy and Literature, © 1990, 14: 359-366 360Philosophy and Literature Palamedes is not a masterpiece of world literature; it is a collection of topoi—tried and true devices for winning acquittal... [whereas] despite his disclaimer, Socrates' speech is no amateur performance. On the contrary, he knew all the tricks of the trade and employed them with consummate skill" (p. 97). Seeskin uses Plato's Gorgias to explain how Socrates' rhetoric fits within an overall understanding of the Apology. He notes the two types ofrhetoric presented in the Gorgias: base rhetoric, a species of flattery which aims at gratification; and philosophic or true rhetoric which aims at improving the soul. Then Seeskin makes a crucial point. He insists it is not enough to distinguish between base rhetoric and philosophic rhetoric; there must be a way to identify a given instance of rhetoric as either base rhetoric or as philosophic rhetoric. Moreover, he cautions that distinguishing the one from the other is no easy task. "It is impossible to tell them apart on the basis of technique alone. Base rhetoric is no less polished for its baseness.... Nor can one tell them apart on the basis of their stated goals. Flattery succeeds only to the extent that it can pass itself off as something better" (p. 98). Thus, if Socrates and Palamedes employ the same rhetorical devices, Seeskin wonders how we can tell which type ofrhetoric is in the Apology. "Somewhere in the Apology of Socrates there ought to be a clue which allows one to distinguish his defense from the 'standard' defense composed by Gorgias" (p. 99). Seeskin finds the clue in the exordium, where Socrates denies that he is a skillful speaker: "Unless, of course, by a skillful speaker they mean one who speaks the truth. If that is what they mean, I would agree that I am an orator, though not after their pattern" (17b). Although Palamedes makes a comparable claim, Seeskin argues that Palamedes was concerned with appearance rather than truth, and that the key to appearance is the use of the argument from probability. According to Seeskin, Socrates does not rely on the argument from probability, whereas this argument permeates the Palamedes. "Again and again, the speaker tries to show that it would be implausible to suppose that anyone in his position did what he is accused of doing. How... (shrink)

The arguments advanced in this paper suggest that the Menexenus ought to be read as a pendent to the Gorgias and as an example of the way in which rhetoric that engages in flattery can harm the souls of its audience. The Menexenus was composed by Plato to illustrate precisely what sentiments ought to be avoided in public oratory, if the primary concern of speech-making is to benefit the lives of citizens. In addition to demonstrating the connections between the Menexenus (...) and Gorgias, a portion of the paper examines the relation between Plato and Thucydides, arguing that there is perhaps more of an affinity between Plato and Thucydides than has previously been acknowledged. Pericles’ Funeral Oration and the speech in the Menexenus suggest that both Thucydides and Plato were deeply concerned with the negative effects of oratory on the political community. (shrink)

This paper examines Socrates’ theory of the arts in the Gorgias and in the Republic. It shows how that theory changes, as the discussion takes focus first in relation to moderation, then to justice, where it is tied to the idea of a techne of rule, to notions of virtuous work and civic health, and to five levels of ‘art’ represented in the cave. It argues that both Socrates’ vision of a scientific and benevolent political art and Thrasymachus’ sophistic theory (...) of tyrannical rule are undercut in the dialogue, the former by doubts concerning the epistemic closure it seems based on, the latter by the tyrant’s character, which impels him toward self-destructive government. (shrink)

The objectives of this book are to provide a new translation of Plato's M eno together with a series of studies on its philcisophical argument in the light of recent secondary literature. My translation is based mainly on the Oxford Classical Text, 1. Burnet's Platonis Opera (Oxford Clarendon Press 1900) Vol. III. In conjunction with this I have made extensive use of R.S. Bluck's Plato's Meno (Cam bridge University Press, 1964). At critical places in the dialogue I have also consulted (...) A. Croiset's Gorgias, Menon (Bude text). My debt ~o two other sources will be clearly in evidence. They are E.S. Thompson's Plato's Meno (London, MacMillan 1901), and St. George Stock's The Meno of Plato (Oxford Clarendon Press, 1894). One of the greatest difficulties facing a translator is to achieve a balance between accuracy and elegance. Literal translations are more likely to be accurate, but, alas, they also tend to be duller. Free translations run into the opposite danger of paying for elegance and liveliness with the coin of inaccuracy. Another hurdle, for a translator of a Platonic dialogue, is posed by the challenge to maintain the conversational pattern and fast moving character of the discussion. This is easier where the exchang~s are short, but much more difficult where Socrates gets somewhat long-winded. (shrink)

Professor Kahn says that Plato and the Socratic Dialogue “presents a new paradigm for the interpretation of Plato’s early and middle dialogues as a unified literary project, displaying an artistic plan for the expression of a unified world view”. To this end, Kahn argues that “[w]hat we can trace in these dialogues is not the development of Plato’s thought,” as Aristotle and others seem to have thought, “but the gradual unfolding of a literary plan for presenting his philosophical views to (...) the general public”. This “unfolding” begins shortly after the Gorgias. Kahn argues that Plato then “created an essentially new form, the aporetic dialogue with a pseudo-historical setting” in order to bridge the psychological distance between the ordinary conception of the world and the radically new world view he would present in the middle dialogues. Kahn calls his interpretation “the hypothesis of ingressive exposition” and says that this hypothesis is “the claim that the seven threshold dialogues [Laches, Charmides, Euthyphro, Protagoras, Meno, Lysis, and Euthydemus] are designed to prepare the reader for the views expounded in the Symposium, Phaedo, and Republic, and that they can be adequately understood only from the perspective of these middle dialogues”. (shrink)

In Plato’s Gorgias, Socrates argues that philosophy is superior to rhetoric in part because the former is a techne while the latter is not. I argue that the Socratic practice of philosophy within this dialogue fails to qualify as a techne for exactly the same reasons that rhetoric fails to qualify as a techne. In doing so, I introduce a new kind of Socratic ignorance: methodological ignorance. I reject both Charles Kahn’s account of the relationship between the dialogue’s dramatic and (...) philosophical contents, and Thomas Brickhouse and Nicholas Smith’s claim that Socrates never regarded his practice as a techne. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.4 (2001) 355-363 [Access article in PDF] Plato on Power, Moral Responsibility and the Alleged Neutrality of Gorgias' Art of Rhetoric (Gorgias 456c-457b) James Stuart Murray 1. Introduction You are sitting in your office on a quiet Thursday afternoon when an agitated university administrator enters with news that the students in your "Plato class" have just been interviewed on the city's largest radio station. According to (...) them, their professor claimed that the demise of their university is a direct result of the fact that senior administrative positions are held by a motley assortment of business-oriented, academically cynical, "renewal"-promoting "innovators" whose main preoccupation is "government funding opportunities" in areas of dubious academic importance.Your response might be: "That's not what I taught them." Or perhaps you might say, "That's not exactly what I taught them--I didn't say it was a 'motley' assortment." In either case, you would be relying on some form of what Robert Wardy (170, n.r 20) has dubbed the "blame students, not teachers defence." He asserts, perhaps correctly, that this defense gained the status of topos within the ancient rhetorical tradition. A version of it certainly does seem to show up in Isocrates' Antidosis (250-52) and perhaps in his Nicocles (3-4), and it is suggested by remarks in both Aristotle's Rhetoric (1355b) and Quintilian's Institutio Oratoria (II,16,5). On this occasion, however, I am concerned with only one rendition, probably its earliest extant instance in Greek literature. In Plato's Gorgias, the eponymous sophist argues as follows: Imagine someone who after attending wrestling school, 1 getting his body into good shape and becoming a boxer, went on to strike his father and mother or any other family member or friend. By Zeus, that's no reason to hate physical trainers... and to exile them from their cities! For while these people imparted their skills to be used justly against enemies and wrongdoers, and in [End Page 355] defense, not aggression, their pupils pervert their strength and skill and misuse them. So it's not their teachers who are wicked, nor is this a reason why the craft should be a cause of wickedness; the ones who misuse it are supposedly the wicked ones. And the same is true for oratory as well. The orator has the ability to speak against everyone on every subject, so as in gatherings to be more persuasive, in short, about anything he likes, but the fact that he has the ability to rob doctors or other craftsmen of their reputations doesn't give him any more of a reason to do it. He should use oratory justly, as he would any competitive skill. And I suppose that if a person who has become an orator goes on with this ability and this craft to commit wrongdoing, we shouldn't hate his teacher and exile him from our cities. For while the teacher imparted it to be used justly, the pupil is making the opposite use of it. So it's the misuser whom it's just to hate and exile or put to death, not the teacher. (Gorgias 456d, 457a-b) 2Change "exile from our cities" to "fire from our universities" and this makes a good passage to remember when confronted by that agitated administrator mentioned above. Blame the students, not the teachers.Not much comment has been provoked by this defense of Gorgianic rhetoric and its underlying rhetor/boxer analogy, except over the question of whether we should read the passage as an accurate reflection of the words of the historical Gorgias or as a Platonic invention. In a previous generation, E. R. Dodds (212) reckoned that this defense was "probably the standpoint of the historical Gorgias," while E. A. Havelock (195) cautioned that "there is little--very little--that he [i.e., Plato] lets Gorgias say in the Gorgias." In our own day, and on a more general level, Thomas Cole (151) states that "Plato's... (shrink)

When making decisions, humans can observe many kinds of information about others' activities, but their effects on performance are not well understood. We investigated social learning strategies using a simple problem-solving task in which participants search a complex space, and each can view and imitate others' solutions. Results showed that participants combined multiple sources of information to guide learning, including payoffs of peers' solutions, popularity of solution elements among peers, similarity of peers' solutions to their own, and relative payoffs from (...) individual exploration. Furthermore, performance was positively associated with imitation rates at both the individual and group levels. When peers' payoffs were hidden, popularity and similarity biases reversed, participants searched more broadly and randomly, and both quality and equity of exploration suffered. We conclude that when peers' solutions can be effectively compared, imitation does not simply permit scrounging, but it can also facilitate propagation of good solutions for further cumulative exploration. (shrink)

INTRODUCTION Although the writings of Thomas Reid are very fertile and interesting, his life is biographically barren in comparison to such seventeenth - and ...

Dalla vertigine dialettica del trattato "Su ciò che non è" alle provocatorie orazioni incentrate sulle figure mitiche di Elena e Palamede, il filosofo e retore Gorgia trasforma la potenza persuasiva del linguaggio in una vera e propria azione terapeutica: l'anima va curata con la pratica dell'armonia, con uno stile rigorosamente strutturato e, insieme, smascherando false verità e vuote ontologie. La parola, perduta l'unicità definitoria e la corrispondenza all'essenza delle cose, non può che rinunciare alla propria pretesa veritativa. In questo vuoto (...) si inserisce l'azione del logos retorico, creatore di un nuovo gioco linguistico, un nuovo "sapiente inganno" di cui anche chi ascolta può entrare a far parte. Il volume raccoglie tutti i frammenti del sofista Gorgia di Leontini e le testimonianze sulla sua vita e sulla sua opera, centrale per la storia del pensiero occidentale nel passaggio dalla riflessione eleatica e atomistica alla tradizione platonico-aristotelica. (shrink)

THE NATURE OF ART is a collection of 29 seminal, historically-organized readings that are focused on a basic philosophical question: What is Art? Including writings from the Western tradition'both Continental and Analytic traditions'as well as non-Western, minority, and feminist writings, this volume provides students with a rich set of resources to explore this matter both broadly and deeply. Introductions to each reading situate the selection amidst each respective thinker's body of work and the greater philosophical context in which the remarks (...) arose. Reading questions accompany each selection, drawing students' attention to key points to be encountered. Hailed by reviewers and adopters for its clarity and rigor, Wartenberg's THE NATURE OF ART offers a lively and engaging introduction to the philosophy of art. (shrink)

The newly updated Right and Wrong 2nd Edition is an accessible introduction to the major traditions in western philosophical ethics, written in a lively and engaging style. It is designed for entry-level ethics courses and includes real-life ethical scenarios chosen to appeal directly to students. Greatly expanded and improved, this successful text introduces students to the major ethical traditions, and provides a simple methodology for resolving ethical dilemmas Treats teleological and deontological approaches to ethics as the two most important traditions, (...) but now includes chapters on virtue ethics and the ethics of care The very accessible writing style speaks directly to students’ own experience Draws examples from three types of real-life ethical scenarios submitted by students: academic dishonesty, partying, and personal relationships Provides a concise treatment of this notoriously complex subject, perfect for entry-level ethics and applied ethics courses. (shrink)

This chapter contains section titled: Personhood: A Start Are Dolphins Persons? Language and the Hand Personhood Redefined Conclusion: What Kind of Beings Are Dolphins?

David Ekdahl (2023), in a constructive and thoughtful commentary, outlines both points of agreement with and suggestions for further research arising from our paper ‘Crossing the Fictional Line: Moral Graveness, the Gamer’s Dilemma, and the Paradox of Fictionally Going Too Far’ (Montefiore & Formosa, 2023).

According to a widely held view, a Kantian intuition functions like a singular term. I argue that this view is false. Its apparent plausibility, both textual and philosophical, rests on attributing to Kant a Fregean conception of judgment. I show that Kant does not hold a Fregean conception of judgment and argue that, as a consequence, intuition cannot be understood on analogy with singular terms.

In this book Thomas Wren uncovers and assesses the largely hidden philosophical assumptions about human motivation that have shaped contemporary psychological ...

This interdisciplinary volume questions one of the most fundamental tenets of social theory by focusing on detachment, an important but neglected aspect of social life. Going against the grain of recent theoretical celebrations of engagement, this book challenges us to re-think the relational basis of social theory. In so, doing it brings to light the productive aspects of disconnection, distance and detachment. Rather than treating detachment simply as the moral inversion of compassion and engagement, the volume brings together empirical studies (...) and theoretical comments by leading anthropologists, sociologists and science studies scholars. Taken together, these illustrate the range of contexts within which distance and disconnection can offer meaningful frameworks for action. Positioned at the cutting edge of social theory, this landmark volume will be of great interest to students and academics across the social sciences and humanities. (shrink)

Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether they agree (...) or disagree with what others have said. (shrink)

Some theories of goodness are descriptively rich: they have much to say about what makes things good. Neo-Aristotelian accounts, for instance, detail the various features that make a human being, a dog, a bee good relative to facts about those forms of life. Famously, such theories of relative goodness tend to be comparatively poor: they have little or nothing to say about what makes one kind of being better than another kind. Other theories of goodness—those that take there to be (...) absolute goodness—are comparatively rich: they offer grounds for judging some types of things better than others because they have more absolute goodness. Moorean accounts, for example, can tell us that humans and human experiences are superior to bees and blades of grass. But such theories tend to be descriptively poor: they struggle to tell us in virtue of what this is so. In this essay we motivate and flesh out a view that splits the difference between accounts of goodness as relative and accounts of goodness as absolute. Such a view holds promise only if the mechanics of this kind of metaphysics of goodness can be worked out. Here we present a view on which the paradigm for absolute goodness is God and the paradigm for each kind of relative goodness is a divine idea. (shrink)

Proceedings of a conference held in Apr. 2008 in Washington, D.C.

It is somewhat misleading to think of the Franciscans as forming a “school” in ethics, since there was a fair bit of diversity among Franciscans. Nonetheless, one can identify certain characteristic tendencies of Franciscan moral thought, and certain “celebrity” Franciscans whose views in ethics and moral psychology are particularly noteworthy. I shall first offer an overview of the general character of Franciscan moral thought in the late thirteenth and early fourteenth centuries and then turn to a more detailed examination of (...) the thought of John Duns Scotus (1265/66-1308) and William Ockham (c. 1288-1347) on three central matters of debate: the nature of the virtues, the relationship between intellect and will, and the relationship between moral requirements and the divine will. (shrink)

Father Williams explains how the conscience is formed through our training and experiences and informed by the Holy Spirit, making it an essential tool for daily living. He uses familiar and surprising characters to illustrate the positive choices conscience can direct--and the disaster that results when a conscience is undeveloped or ignored. Questions he tackles include "Is it more important to be smart or good?""Is there a morally right thing to do in every situation?" and "Is the Christian moral life (...) an exciting adventure, or a necessary burden?" Rich, provocative, and practical for everyday decision making, KNOWING RIGHT FROM WRONG is a must-read for all who hunger for personal holiness. (shrink)

The reaction to Darwin's Origin of Species varied in many countries according to the roles played by national scientific institutions and traditions and the attitudes of religious and political groups. The contributors to this volume, including M. J. S. Hodge, David Hull, and Roberto Moreno, gathered in 1972 at an international conference on the comparative reception of Darwinism. Their essays look at early pro- and anti-Darwinism arguments, and three additional comparative essays and appendices add a larger perspective. For this paperback (...) edition, Thomas F. Glick has added a new preface commenting on recent research. (shrink)

For courses in Business Ethics A fresh approach to the assumptions that underlie business practices Two recent events — the 2008 economic meltdown and the ongoing concentration of the nation's wealth in the hands of a very small percentage of the population — have led many people to question a number of basic assumptions about business, corporations, and the workings of contemporary free-market capitalism in a global economy. Written as a dialogue between Socrates and a hypothetical contemporary CEO,Socrates Comes to (...) Wall Street leads students to think critically about perspectives and practices that are taken as “givens” in most American business schools and corporations. Employing this original and provocative approach, author Thomas White seeks to encourage the next generation of business leaders to be more astute about the implications of their actions, and to act more prudently and more fairly than we have seen in the recent past. (shrink)