Despite increasing interest in the figure of Socrates and in love in ancient Greece, no recent monograph studies these topics in all four of Plato's dialogues on love and friendship. This book provides important new insights into these subjects by examining Plato's characterization of Socrates in Symposium, Phaedrus, Lysis and the often neglected Alcibiades I. It focuses on the specific ways in which the philosopher searches for wisdom together with his young interlocutors, using an art that is 'erotic', not in (...) a narrowly sexual sense, but because it shares characteristics attributed to the daimon Eros in Symposium. In all four dialogues, Socrates' art enables him, like Eros, to search for the beauty and wisdom he recognizes that he lacks and to help others seek these same objects of erôs. Belfiore examines the dialogues as both philosophical and dramatic works, and considers many connections with Greek culture, including poetry and theater. (shrink)

Of other ancient writers, call into question the traditional view that katharsis in the Poetics is a homeopathic process - one in which pity and fear affect emotions like themselves. She maintains, instead, that Aristotle considered katharsis to be an allopathic process in which pity and fear purge the soul of shameless, antisocial, and aggressive emotions. While exploring katharsis, Tragic Pleasures analyzes the closely related question of how the Poetics treats the.

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In the Republic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simply non-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, (...) are in fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ and anti-rational in that they are actively opposed to reason. According to the Republic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action. This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato's Laws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in the Republic Plato condemns drunkenness and other anti-rational states, in the Laws he extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (shrink)

Aristotle's Rhetoric defines fear as a kind of pain or disturbance and pity as a kind of pain . In his Poetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ . The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in connection with catharsis. Catharsis, however, raises more problems than it solves. Aristotle says nothing at all (...) about the tragic catharsis in the Poetics except to state that tragedy accomplishes it. Though he gives a more complete account of catharsis in the Politics, the context of this passage is so different from that of the Poetics that its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of the Poetics according to which a tragedy is pleasurable in one respect and painful in another, and pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of the oikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view of catharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

Plato's views on tragedy depend in large part on his views about the ethical consequences of emotional arousal. In theRepublic, Plato treats the desires we feel in everyday life to weep and feel pity as appetites exactly like those for food or sex, whose satisfactions are ‘replenishments’. Physical desire is not reprehensible in itself, but is simplynon-rational, not identical with reason but capable of being brought into agreement with it. Some desires, like that for simple and wholesome food, are in (...) fact ‘necessary’ and approved by reason. Other appetites, like lust and gluttony, are ‘unnecessary’ andanti-rational in that they are actively opposed to reason. According to theRepublic, the satisfaction of these ‘unnecessary’ desires inevitably strengthens the elements in the soul that oppose reason. The desire to weep at the theatre is treated in this dialogue as just such an anti-rational desire. Even a temporary indulgence in tragic pity and fear has a permanent deleterious effect on the soul, although it does not lead directly to any action.This paper argues that a radically different psychological theory, with important aesthetic implications, appears in the discussion of wine-drinking in Books 1 and 2 of Plato'sLaws. Though this long passage has been much scorned and neglected, it is of considerable philosophical importance. While in theRepublicPlato condemns drunkenness and other anti-rational states, in theLawshe extols the benefits of a hypothetical ‘fear drug’ that could induce a temporary state of anti-rational terror and of wine to produce other anti-rational emotions and desires. (shrink)

Aristotle'sRhetoricdefines fear as a kind of pain (lypē) or disturbance (tarachē) and pity as a kind of pain (2.5.1382 a 21 and 2.8.1385 b 13). In hisPoetics, however, pity and fear are associated with pleasure: ‘ The poet must provide the pleasure that comes from pity and fear by means of imitation’ (τ⋯ν ⋯π⋯ ⋯λέου κα⋯ ɸόβου δι⋯ μιμήσεως δεῖ ⋯δον⋯ν παρασκευάζειν14.1453 b 12–13). The question of the relationship between pleasure and pain in Aristotle's aesthetics has been studied primarily in (...) connection withcatharsis.Catharsis, however, raises more problems than it solves. Aristotle says nothing at all about the tragiccatharsisin thePoeticsexcept to state that tragedy accomplishes it. Though he gives a more complete account ofcatharsisin thePolitics, the context of this passage is so different from that of thePoeticsthat its relevance is questionable. A more promising, but largely neglected, approach to Aristotle's theory of tragic pleasure and pain is through a study of his psychological works. Here, Aristotle describes a number of emotional and cognitive responses to kinds of objects that include works of art. These descriptions support an interpretation of thePoeticsaccording to which (1) a tragedy is pleasurable in one respect and painful in another, and (2) pity and fear, though painful and not in themselves productive of pleasure, are nevertheless essential to the production of theoikeia hēdonē, ‘proper pleasure’, of tragedy. This interpretation has the advantage of not depending on a particular view ofcatharsis. It also makes much better sense than alternative views, once its seemingly paradoxical aspects are explained with the help of the psychological works. (shrink)

Résumé — Dans cet article, je montre que l’une des fonctions de la tragédie est de procurer un entraînement au thumos , en l’habituant à devenir amical plutôt qu’agressif envers les philoi . Je donne d’abord un bref aperçu des thèses sur le thumos exposées dans les œuvres éthiques et politiques d’Aristote. Ensuite, j’étudie la relation entre le thumos et les actes de violence entre proches, qui constituent le sujet de la tragédie, en montrant comment la pitié et la crainte (...) ressenties en réponse à ces actions peuvent aider à restreindre la tendance, associée à un thumos excessif, à blesser ses propres philoi. Je conclus en étudiant une thèse défendue par John Cooper en 1996, selon laquelle l’objet des désirs du thumos d’une personne vertueuse est le kalon, ce qui est à la fois noble et beau en un sens esthétique, car possédant ordre, symétrie, et délimitation. En m’appuyant sur les thèses de Cooper, je soutiens que les propriétés formelles de l’intrigue tragique, son ordre, sa symétrie et sa délimitation, ne procurent pas seulement un plaisir esthétique, mais qu’elles aident aussi à habituer le thumos à désirer et à prendre plaisir à ce qui est noble.— I argue in this article that one function of tragedy is to provide training for the thumos , habituating it to become friendly rather than aggressive toward philoi . I first provide a brief survey of the views on thumos expressed in Aristotle’s ethical and political works. Next, I study the relationship between thumos and the violent acts among kin that are subject matter of tragedy, suggesting ways in which pity and fear felt in response to these actions can help to restrain the tendency, associated with excessive thumos, to harm one’s own philoi. I conclude by studying an argument made by John Cooper in 1996 that the object of the thumos desires of the virtuous person is le kalon, that which is noble and at the same time beautiful in an aesthetic sense, having order, symmetry and determinateness. Building on Cooper’s ideas, I contend that the format properties of the tragic plot, its order, symmetry and determinateness, not only give aesthetic pleasure, but also help to habituate the thumos to desire and take pleasure in what is noble. (shrink)

This chapter contains sections titled: Introduction The Elements of Tragedy and Its Definition Plot and Character Simple and Complex Plots Good and Bad Tragic Plots Conclusion Notes Bibliography.

This paper defends the avowal view of self-deception, according to which the self-deceived agent has been led by the evidence to believe that ¬p and yet is sincere in asserting that p. I argue that the agent qualifies as sincere in asserting the contrary of what they in the most basic sense believe in virtue of asserting what they are committed to believing. It is only by recognizing such commitments and distinguishing them from the more basic beliefs whose rational regulation (...) is automatic that the tension between the self-deceived agent’s actions and assertions can be explained in a core subset of cases of self-deception. (shrink)

Despite a growing literature on identity theory in the last two decades, much of its current use in archaeology is still driven toward locating and dating static categories such as 'Phoenician,' 'Christian' or 'native.' Previous studies have highlighted the various problems and challenges presented by identity, with the overall effect of deconstructing it to insignificance. As the humanities and social sciences turn to material culture, archaeology provides a unique perspective on the interaction between people and things over the long term. (...) This volume argues that identity is worth studying not despite its slippery nature, but because of it. Identity can be seen as an emergent property of living in a material world, an ongoing process of becoming which archaeologists are particularly well suited to study. The geographic and temporal scale of the papers included is purposefully broad to demonstrate the variety of ways in which archaeology is redefining identity. Research areas span from the Great Lakes to the Mediterranean, with case studies from the Mesolithic to the contemporary world by emerging voices in the field. The volume contains a critical review of theories of identity by the editors, as well as a response and afterword by A. Bernard Knapp"--From publisher's website. (shrink)

Ruins are evocative structures, and we value them in different ways for the various things they mean to us. Ruins can be aesthetically appreciated, but they are also valued for their historical importance, what they symbolize to different cultures and communities, and as lucrative objects, i.e., for tourism. However, today an increasing number of ancient ruins have been damaged or completely destroyed by acts of war. In 2001 the Taliban struck a major blow to cultural heritage by blasting the Bamiyan (...) Buddhas out of existence. They were not easy to destroy. This direct targeting of cultural property might change our attitudes toward conservation practices. Francesco Bandarin, the UNESCO assistant director-general for culture, states, “Deliberate destruction has created a new context. At the time, Bamiyan was an exceptional case.” Bandarin’s comments notwithstanding, the destruction of cultural property in times of war is not new. Not only is there relatively settled international law prohibiting the looting of cultural property during times of war, we can find examples of intentional destruction of cultural property from thousands of years ago. In this paper I would like to focus on one particular case, that of the Mỹ Sơn Archaeological Sanctuary, in the Socialist Republic of Việt Nam. Mỹ Sơn is the foremost Champa archaeological site and the largest archaeological site in Việt Nam. The largest temple (kalan) at Mỹ Sơn, A1, was destroyed in a US bombing raid in 1969. In this paper I highlight different approaches to architectural cultural heritage preservation in terms of reconstruction, restoration, and ruination -- with an eye to applying these approaches to the remains of the A1 temple in Mỹ Sơn. I briefly discuss the history of Mỹ Sơn before providing some reasons to believe that we should allow A1 to ruinate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Editors’ IntroductionElizabeth S. Radcliffe and Mark G. SpencerThis issue opens with the winning essay in the Third Annual Hume Studies Essay Prize competition: “Hume beyond Theism and Atheism” by Dr. Ariel Peckel. Dr. Peckel’s essay was chosen as the winner from among papers submitted by emerging scholars from August 2022 through July 2023. Please see the full prize announcement with information about this talented Hume scholar elsewhere in this (...) issue. Our Call for Papers for the Fourth Essay Prize competition is printed in the back of this issue and on-line at the Hume Studies website. The contest is open to authors ten or fewer years from the Ph.D. and closes on August 1, 2024. If you are eligible, please consult our “Call” for further details!In other Hume Studies news, we have once again acquired a new printer. Christensen Printing (Lincoln, Nebraska), whose work for us was excellent, suddenly closed its business when its owner retired this past year and had no one to succeed him. We received the news just when our November issue was ready to go to press. With the assistance of our friends at the Philosophy Documentation Center, we obtained estimates from three printers and have now engaged Bailey Printing in Charlottesville, Virginia. Our November issue was published on-line by November 1 (at the Philosophy Documentation Center website, the Project Muse website, and the Hume Society website), but the print issue took longer to get to subscribers.For a second time, we want to bring to the attention of our readers that Hume Studies will be marking its 50th year of publication in 2025. As we have previously noted, we are planning an anniversary issue for 50:1 (April 2025). We hope to include among the special features of that issue paragraphs or statements from our readers in answer to this query: “Of all of the articles that have been published in [End Page 7] Hume Studies over the past 50 years, which one is most noteworthy to you? Why so?” Please see the “Call for Entries” in the back of this issue or on the Hume Studies website (https://www.humesociety.org/ojs/index.php/hs), which includes details on where to send your response. The due date is October 15, 2024, but we encourage you to send your entries as soon as possible! [End Page 8]Copyright © 2024 Hume Studies... (shrink)

Attempts to unify Marxist and feminist social critique have been vexed by the fact that ‘patriarchy’ predates the advent of capitalism (its transhistorical status). Feminists within the Marxist, socialist, and materialist traditions have responded to this point by either granting patriarchy a certain autonomy relative to capitalism (the ‘dual/triple systems’ approach), or by suggesting that patriarchal relations have a foundational and necessary status in the history of capitalist development (which we term the ‘origins-subsistence’ approach). This paper offers an alternative account (...) of the relationship between capitalism and the transhistorical status of ‘patriarchy’. In aid of a ‘unitary theory’ of Marxist Feminism, we argue that the transhistorical status of patriarchy is better understood through an application of Marx’s concepts of formal and real subsumption. A modified version of these concepts can illuminate not only capitalist appropriation of antecedent social and economic forms, but also its capacity to produce new forms of gendered exploitation and oppression. (shrink)

Feminism is all about demanding equality and learning to love yourself. But not too much - men hate that! From the writers of Reductress, the subversive, satirical women's magazine read by over 2.5 million visitors a month, comes HOW TO WIN AT FEMINISM: The Definitive Guide to Having It All--And Then Some! This ultimate guide to winning feminism--filled with four-color illustrations, bold graphics, and hilarious photos--teaches readers how to battle the patriarchy better than everybody else. From the herstory of feminism (...) to how to apologize for having it all, readers will learn how to be a feminist at work and at home with tips that include: How to Do More with 33 Cents Less How to Be Sex-Positive Even When You're Bloated How to Love Your Body Even Though Hers Is Better The 9 Circles of Hell for Women Who Don't Help Other Women Designer Handbags to Hold All Your Feminism How to Get Catcalled For Your Personality HOW TO WIN AT FEMINISM is a fresh take on women's rights through the lens of the funniest women in comedy today. With this book as your wo-manual, you'll shatter that glass ceiling once and for all (but you'll still need to clean up the mess). (shrink)

This concept book introduces young children to the role of nothingness and negative space in their world.

This chapter contains sections titled: Allotment Associations The Allotment Site New Relationships: Councillors and Gardeners Conclusions Notes.