La « danse grecque antique » évoque en général des images de chœurs imposants et de festivités dionysiaques, ou encore d’Isadora Duncan dansant au milieu des ruines de l’Acropole. Dans cet article, j’étudie une figure peu connue de la danseuse de l’Antiquité : l’orchestris, ou danseuse de banquet. De ces femmes, marginalisées par leur genre et leur classe, il ne demeure que des traces éparses dans la littérature et les vestiges matériels. En réunissant ces traces, cet article met en lumière (...) la place de la danseuse de banquet dans l’imaginaire culturel grec. Il montre ensuite que l’exploration fictionnelle de la subjectivité des femmes dans le dialogue III des Dialogues des courtisanes de Lucien doit nous inciter à réfléchir à la façon dont le mouvement et l’incarnation ont pu constituer – à toutes les époques – des sources essentielles, bien qu’à jamais hors de notre portée, de la capacité d’agir des orchestrides. (shrink)

According to Xenophon, the hetaira "gratified" her patron as a philos, participating in an aristocratic network of gift exchange , while the pornê, as her name signified, trafficked in sex as a commodity. Recent writers on Greek prostitution have acknowledged that hetaira vs. pornê may be as much a discursive opposition as a real difference in status, but still, very little attention has been paid to the period of the "invention" of this binary. Hetaira meaning "courtesan" first occurs in Herodotus (...) and does not exist in Homer: hence, the conceptual category of the hetaira is an invention of the archaic period. What needs generated the constitution of this category? And what conceptual "work" was the opposition hetaira-pornê doing in Greek culture in the period of its inception? This paper addresses these questions through a reading of fragments of archaic lyric-predominantly those of Anakreon-as well as consideration of Attic vase painting. I suggest that the hetaira-pornê opposition participates in the overarching tension between the aristocratic symposium and the public sphere in archaic Greece. Oswyn Murray has suggested that the symposium constitutes itself as a kind of anti-city with its own rules and conventions. Part of the discursive exclusion of the public sphere is the complete suppression of the city's monetarized economy from the domain of the aristocratic symposium, and it is this impulse to mystify economic relations for sex that generates the category of the hetaira within a framework of gift exchange. But if the motives for this discursive invention are economic, they are also political: the hetaira affirms and embodies the circulation of charis within a privileged elite, while the pornê figures the debased and promiscuous exchanges of the agora. (shrink)

Ancient catalogues of Aristotle’s writings mention Symposium in one book, but this does not seem to be a dialogue analogical to that of Plato. Aristotle raised the sympotical and wine-drinking issues differently, as Plutarchus, Macrobius, Philo of Alexandria, Ps. Julian, and first and foremost, Atheaneus relate in their works. In his The Sophists at Dinner, Atheaneus quotes Aristotle’s title Συμπόσιον only once, while the title Περὶ μέθης is cited six times. Some scholars and editors of Aristotle’s fragments combine both (...) titles as belonging to one writing, while others separate them as their identity is not confirmed by the sources. Irrespective of whether it was a dialogue, just one or two related works, the few extant testimonies and citations from Aristotle provide an interesting source of information concerning the then customs and drinking effects in Greek culture, which, however, should not be directly associated with contemporary drunkenness and alcoholism. Aristotle’s approach to wine-drinking and feasting was in fact investigative, natural, medical, and analogical to the arguments presented in the third book of Problemata, where the matters On the drinking of wine and drunkenness are touched upon. (shrink)

The problem of interpreting music’s function or role is scrutinized by grounding music’s significance through a selected reading of Platonic philosophy and a reinterpretation of the concept of “pharmakon” familiar to ancient Greeks, and in particular, the Athenians. Views on both mousike and the artistic practice of music in that era are taken into account. The “pharmakon” is analyzed through a concept of love as a harmonizing force and a variety of contexts are explicated, showing that it concerns any (...) object that gives rise to beneficial and detrimental effects. It also changes mental states or the manner of thinking in such a way that the value of the pharmakon is undecidable a priori and dependent upon an axiology of anticipation. Plato’s metaphysics and philosophy of music can be read to show that music can be both a poison and a remedy in regard to the ways it is used, which is analogous to drugs, medicine, or technological entities such as writing. In this context attention is given to the problem of mania, and how music can be both a force that gives rise to such a condition as well as a technique of alleviating it, since it is a tool for manipulating the intrapsychic dialogue of the embodied soul. -/- Znaczenie muzyki w nawiązaniu do Platona i pojęcia „farmakon" Problematyka interpretacji funkcji lub roli muzyki jest badana poprzez ugruntowanie znaczenia muzyki w wybranych wątkach filozofii Platona i reinterpretacji pojęcia „farmakon” bliskiego starożytnym Grekom, a zwłaszcza Ateńczykom. Uwzględnia się poglądy zarówno odnośnie mousike jak i ówczesnej praktyki artystycznej. „Farmakon” analizowany jest poprzez koncepcję miłości jako harmonizującej siły oraz przez różne konteksty, które są wyeksplikowane, aby wskazać na to, że dotyczy jakiegokolwiek przedmiotu, który powoduje korzystne jak i szkodliwe efekty. Zmienia także stany umysłowe lub sposób myślenia tak, że wartość farmakonu jest nierozstrzygalna a priori i powiązana z aksjologią antycypacji. Metafizyka i filozofia muzyki Platona może być czytana w sposób ukazujący, że muzyka może być zarówno trucizną jak i środkiem zaradczym, w zależności od formy jej użytkowania, co jest analogiczne z narkotykami, medycyną i technicznymi bytami takimi jak pismo. W tym kontekście zwraca się uwagę na problem szału i tego, że muzyka może być zarówno siłą, która wywołuje ów stan, jak i środkiem załagodzenia go, ponieważ jest ona narzędziem manipulacji intrapsychicznego dialogu ucieleśnionej duszy. (shrink)

The ancient Greek word kalon can be translated as beautiful, good, noble, or fine—yet somehow it transcends any one of those concepts. In art and literature, it can apply straightforwardly to figures like Helen or Aphrodite, or enigmatically to the pais kalos: the youthful athlete that decorates so much sympotic pottery. In the philosophy of Plato, Aristotle and Plotinus, meanwhile, it takes on an ethical, even transcendent dimension. And yet, the thread between a beautiful painting and the Platonic (...) form of the beautiful is never completely broken. In the summer of 2018, a group of scholars from varying disciplines gathered in Siracusa, Sicily – a place of not indifferent beauty itself – to discuss the nature of to kalon in ancient Greek culture. We were especially interested in the large part of that heritage that derives from or was influenced by Western Greece – the ancient Hellenic cities of Sicily and Southern Italy. The result is a volume that considers art, literature, rhetoric, and philosophy in exploring the nature of beauty. (shrink)

The symposion was a key cultural phenomenon in ancient Greece. This book investigates its place in ancient Greek society and thought by exploring the rhetorical dynamics of its representations in literature and art. Across genres, individual Greeks constructed visions of the party and its performances that offered persuasive understandings of the event and its participants. Sympotic representations thus communicated ideas which, set within broader cultural conversations, could possess a discursive edge. Hence, at the symposion, sympotic styles (...) and identities might be promoted, critiqued and challenged. In the public imagination, the ethics of Greeks and foreigners might be interrogated and political attitudes intimated. Symposia might be suborned into historical narratives about struggles for power. And for philosophers, writing a Symposium was itself a rhetorical act. Investigating the symposion's discursive potential enhances understanding of how the Greeks experienced and conceptualized the symposion and demonstrates its contribution to the Greek thought world. (shrink)

Ion -- Meno (Menon) -- Symposium (The banquet) -- The republic -- The apology (The defence of Socrates) -- Crito (Criton) -- Phaedo (Phaidon) -- The Greek alphabet -- Pronouncing index.

This conversational opinion article between two parties – Kate, a disability performance scholar and Sarah, an interdisciplinary artist-scholar with lived experience of disability – considers the dancing body as redeemer in the specific case of a dancer experiencing ‘chemo fog’, or Chemotherapy-Related Cognitive Impairment (CRCI) after undergoing oncological treatments for Hodgkin Lymphoma. This work draws on Pini’s own lived experience of illness (Pini & Pini, 2019) in dialogue with Maguire-Rosier’s study of dancers with hidden impairments (Gibson & Maguire-Rosier, 2020). In (...) an exploratory account based on an interview with one another, the authors ask: when our senses and perceptions of ourselves and the world we become are obfuscated, what is the nature of the new relationship between the performing self and its absent body/mind/world? How can we shape our narrative and articulate who we are, what we are doing or where we are going, if we are moving in the ‘fog’? Our discussion reveals how Pini’s dancing body elucidates healing, while recovering an agentic perspective in her experience of alienation and frustration tied to chemo fog and related impairments. With this work we offer an original perspective on how a dancing body can resist theoretical diagnosis. (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to (...) the United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

'you'll find another man to harvest, Glycerion: let this one go' The Greek satirist Lucian was a brilliantly entertaining writer who invented the comic dialogue as a vehicle for satiric comment. His influence was immense, not only in the Greek world, but on later European writers such as Rabelais and Swift. His dialogues puncture the pretensions of pompous philosophers and describe the daily lives of Greek courtesans; they are peopled by politicians, historians and ordinary citizens, as well as by (...) gods and mythic figures. This selection provides a cross-section of Lucian's styles and satirical targets, from serious polemic to lighter squibs and character portrayals. It includes How to Write History and his most famous piece, A True History, a fabulous tale of space travel and a monstrous whale which prefigures the fantasies of Jules Verne. This lively new translation is both accurate and idiomatic, and the introduction highlights Lucian's importance in his own and later times. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

The first collective monograph on one of Plato’s most intriguing dialogues with interest for readers of ancient philosophy as well as those who study modern theories of language.

Why did Greek philosophy begin in the sixth century BCE? Why did Indian philosophy begin at about the same time? Why did the earliest philosophy take the form that it did? Why was this form so similar in Greece and India? And how do we explain the differences between them? These questions can only be answered by locating the philosophical intellect within its entire societal context, ignoring neither ritual nor economy. The cities of Greece and northern India were in this (...) period distinctive also by virtue of being pervasively monetised. The metaphysics of both cultures is marked by the projection and the introjection of the abstract, all-pervasive, quasi-omnipotent, impersonal substance embodied in money. And in both cultures this development accompanied the interiorisation of the cosmic rite of passage. (shrink)

A comparative study of what the most influential writers of Ancient Greece and China thought it meant to have knowledge and whether they distinguished knowledge from other forms of wisdom. It surveys selected works of poetry, history and philosophy from the period of roughly the eighth through to the second century BCE, including Homer's "Odyssey", the ancient Chinese "Classic of Poetry", Thucydides' "History of the Peloponnesian War", Sima Qian's "Records of the Historian", Plato's "Symposium", and Laozi's "Dao de (...) Jing and the writings of Zhuangzi". The intention, through such juxtaposition, is to introduce the foundational texts of each tradition which continue to influence the majority of the world's population. (shrink)

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)

This volume represents some of the activities of the Boston Area Colloquium in Ancient Philosophy from the academic year 1997-98. It contains nine colloquia that were hosted by eight different colleges and universities in the greater Boston area. Discussions of the works of Plato dominate this volume, with six of the nine colloquia based on Platonic texts. Appropriately, the colloquia begin with an analysis of division in the ancient atomists. Later, a study of truth in Aristotle gives a (...) counterpoint to the Platonic interplay of drama and pedagogy or logic and rhetoric examined in papers about the "Theaetetus" and "Symposium". A presentation of Proclus’s account of evil revisits some of the issues of sophistry and morality discussed in relation to Plato’s "Republic" and "Euthydemus". Finally, the remaining Platonic papers are in a way not about Plato at all, but about Socrates and Xanthippe, supplementing Platonic dialogues with Xenophon and others. Underneath these discussions of ancient texts current modes of philosophy run along, providing a score of alternative interpretative schemes._ This publication has also been published in paperback, please click here_ for details. (shrink)

This volume represents some of the activities of the Boston Area Colloquium in Ancient Philosophy from the academic year 1997-98. It contains nine colloquia that were hosted by eight different colleges and universities in the greater Boston area. Discussions of the works of Plato dominate this volume, with six of the nine colloquia based on Platonic texts. Appropriately, the colloquia begin with an analysis of division in the ancient atomists. Later, a study of truth in Aristotle gives a (...) counterpoint to the Platonic interplay of drama and pedagogy or logic and rhetoric examined in papers about the "Theaetetus" and "Symposium". A presentation of Proclus’s account of evil revisits some of the issues of sophistry and morality discussed in relation to Plato’s "Republic" and "Euthydemus". Finally, the remaining Platonic papers are in a way not about Plato at all, but about Socrates and Xanthippe, supplementing Platonic dialogues with Xenophon and others. Underneath these discussions of ancient texts current modes of philosophy run along, providing a score of alternative interpretative schemes._ This publication has also been published in paperback, please click here_ for details. (shrink)

Best known for his influential History of Greece, the historian and politician George Grote wrote this account of Plato's dialogues as a philosophical supplement to the History. First published in 1865 and written in dialogic form, Grote's account of Plato's works includes substantial footnotes and marginalia. This second volume covers the transitional and middle dialogues including Gorgias and Symposium, as well as some of the later works. Grote includes apocryphal works, as he relied on the order and classification (...) of Plato's works specified by the ancient Greek scholar Thrasyllus of Mendes. With three volumes each running to over six hundred pages, Grote's scholarship is formidably comprehensive. The publication of Plato and the Other Companions of Sokrates confirmed him as one of the greatest authorities on Plato in the nineteenth century. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Erotic Attunement: Parenthood and the Ethics of Sensuality between Unequals by Cristina L. H. TrainaSandra Sullivan-DunbarErotic Attunement: Parenthood and the Ethics of Sensuality between Unequals CRISTINA L. H. TRAINA Chicago: University of Chicago Press, 2011, 363 pp. $55.00In this ambitious and broadly interdisciplinary work, Cristina Traina begins from an experience that evades contemporary discussion: maternal sensual pleasure in the care of infants and young children. As Traina notes, (...) this experience puts two contemporary dogmas on a “collision course”: the widely accepted norm that sexual pleasure is intrinsically good and the widely accepted norm that sexual pleasure between unequals is intrinsically exploitative. As with other feminist turns toward neglected experience, this one calls for a recalibration of ethical models—in this case, a more complex and nuanced sexual ethic.Traina challenges readers to broaden notions of sexuality beyond androcentric models focused primarily on particular acts and on genital release. Such models are deeply graven in the Christian tradition and reinforced through reductive cultural appropriations of Freudian thought. But all human relations are embodied and involve desire, argues Traina, and are thus in some sense erotic, though most do not involve genital sexuality. Likewise, her readers are challenged to recognize the pervasiveness of relations of inequality in human life, when most Christian sexual ethics limit themselves to relations between equals, or at least understand a sexual ethic to aim at equality and mutuality.The book engages psychological resources demonstrating the human need for appropriate touch as well as the profound damage done by abusive touch. The need is so universal and foundational that Traina casts it as a human right; yet offering such touch appropriately is a subtle and challenging moral task beset with danger and the potential for self-deception.Traina diagnoses the sexual abuser as a fragmented self, one unable to perceive the concrete reality, needs, and experiences of her victim and bent on the doomed project of creating a whole self by appropriating and objectifying the other. Thus, at the heart of her ethic of sensuality between unequals is the notion of “attunement.” The attuned caregiver can acknowledge and fully experience inclinations, joys, and pains with a contemplative and compassionate awareness that allows considered and appropriate responses. The attuned care-giver lives with “unending, acknowledged desire” (177), a desire that glories in the goodness of the child in her care and, in so doing, creatively elicits subjectivity from her rather than manipulating her to meet the needs of the caregiver. [End Page 240]This ethical vision is developed in dialogue with a number of resources from Christian and secular sources. Traina helpfully nuances a Thomistic account of the virtue of temperance as a guideline for appropriate touch. She also develops revisionist accounts of Augustinian desire offered by Wendy Farley and Linda Holler. I found myself wondering whether some more traditional interpretations of Augustine might serve Traina’s project as well as or better than these revisionist understandings, which emphasize desire as a permanent state rather than directed toward final rest in God.Likewise, Traina works her way through the plethora of recent eros theologies, drawing in particular on recent interpretations of Plato’s Symposium that stress the creativity of eros in bringing to birth goodness and beauty as well as its potential for enabling a degree of other-regard. It seems to this reader that a contemporary ethic of sexuality between unequals calls for greater other-regard than the most generous interpretation of Plato’s ladder of love can suggest. However, Plato’s caution about the profound difficulty of directing eros toward the true good resonates with the difficulty of achieving the “erotic attunement” described by Traina.In any case, quibbles about the resources and interpretations that Traina mines to support her ethic do not lessen the originality, power, and importance of this book, which extends beyond sexual ethics to reframe questions about embodiment, (in)equality, and moral agency in profound and necessary ways.Sandra Sullivan-DunbarLoyola University, ChicagoCopyright © 2014 Society of Christian Ethics... (shrink)

This chapter aims to illuminate ways in which hope was significant in the philosophy of classical Greece. Although ancient Greek philosophies contain few dedicated and systematic expositions on the nature of hope, they nevertheless include important remarks relating hope to the good life, to reason and deliberation, and to psychological phenomena such as memory, imagination, fear, motivation, and pleasure. After an introductory discussion of Hesiod and Heraclitus, the chapter focuses on Plato and Aristotle. Consideration is given both to Plato’s (...) direct comments on hope and to the narrative contexts of his dialogues, with analysis of Plato’s positive and negative representations of hope, hope’s relationship to reason, and Plato’s more psychological approach in the Philebus, where hope finds a place among memory, recollection, pleasure, and pain. The chapter then reviews Aristotle’s discussions of confidence, hope, and courage, observing that although Aristotle does not mention hope as a virtue, he does note its importance to human agency and deliberation and as a foundation for the further development of virtue. The chapter concludes that discussions surrounding hope in ancient Greek philosophy are rich and challenging and can serve as a lively stimulus to further exploration of the concept of hope. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 44.3 (2006) 467-468 [Access article in PDF] Richard Hunter. Plato's "Symposium". New York: Oxford University Press, 2004. Pp. xiii + 150. Cloth, $40.00. Paper, $14.95. The editors of the series in which Plato's "Symposium" appears state that its constituent texts are to be "essays in criticism and interpretation that will do justice to the subtlety and complexity of the works under discussion" (vi). (...) In the preface, Hunter identifies as his audience "those who have already read or are in the process of reading the Symposium" (ix).Plato's "Symposium" has much to offer to classics students and to the general reader. The book provides useful literary and cultural background regarding the conduct of Greek symposia (5–15). It is filled with valuable interpretive remarks, as for example when Hunter proposes that Alcibiades' depiction of Socrates "as a carved Silenus" instantiates a "common form of sympotic verbal game, the 'likeness'—'Why is X (usually one of the symposiasts) like Y (usually something nonhuman)?'" (5–6). Hunter's rich knowledge of Greek literature pays off in a range of ways, as for instance in his remarks on literary articulations of erôs (16–18). The volume's final chapter, on the history of the dialogue's reception, offers a number of figures and contexts on which to reflect.Hunter makes helpful observations regarding the seriocomic and special features of Plato's recourse to it (9–11), noting that, "in the attack upon the spoudaiogeloion, it is the spoudaiogeloion itself which is the principal weapon" (36). Hunter's orientation in this regard yields nuanced interpretations of the logoi of Pausanias and Eryximachus. Hunter observes helpfully that Aristophanes' encomium functions as "an example of a very familiar aspect of the technique of Aristophanic comedy, namely, the literalization of metaphorical language (as, for example, when 'weighing up' poetry becomes a matter of real weighing in the Frogs)" (65). In Hunter's view, Agathon's contribution, in turn, illustrates Plato's contention in the Gorgias that tragedy is a type of flattery (kolakeia). Drawing on Aristophanes' Women at the Thesmophoria, Hunter makes the useful suggestion that the comic poet's depiction "can... help to explain the extravagance of the Platonic character's speech" (76).While Plato's "Symposium" will also provide valuable background to students of philosophy, on its own the book does not do justice to Socrates' encomium, in particular the crucial "ascent passage" (210a–12a). A key point of contention among philosophical interpreters of the Symposium is whether one is to read the ascent passage as "inclusive" or "exclusive" regarding erôs as directed toward individuals. (For the formulation of the controversy in these terms, see J. M. E. Moravcsik, "Reason and Eros in the 'Ascent'-Passage of the Symposium," in Essays in Ancient Greek Philosophy, eds. Anton and Kustas [1971], 293.) The strongly exclusivist stance has had a number of exponents and is most famously associated with Gregory Vlastos (see "The Individual as an Object of Love in Plato," in Platonic Studies, 2nd ed. [1981], 31). For a contrasting view, one may consult, for example, John Brentlinger, according to whom "it does not follow from Plato's claim that we love persons (or anything else) because we believe them to be beautiful and good, that we really love the properties of beauty and goodness per se, and do not really love persons per se" (The "Symposium" of Plato [1970], 122; see also C. J. Rowe, Plato: "Symposium" [1998], 7). Hunter states that the Symposium's "apparent rejection of the value of lasting love between individuals has often seemed to modern readers to present a harshly intellectual view of erôs which ignores basic, [End Page 467] universal facts of human experience and which offers little comfort to all but a Socrates" (98). It will not, I think, be evident to readers not already familiar with pertinent philosophical literature on the ascent to just what interpretive debate this remark is (at most) a glancing gesture.Hunter quotes Symposium 210d, where Plato says that the... (shrink)

This work begins with a brief review – from the _physical education_ movement that began in ancient Greece and is deeply rooted in 19th century Europe, to the _somatics_ movement alive today. The review captures primary historical and conceptual references, relevant to the therapeutic-embodied exploratory work. Then, G. Stanghellini’s mental health care model [ 2 ] is reviewed. This model is considered within reflexive self-awareness and spoken dialogue: the main vehicles in relation with alterity and its consequences in the (...) realm of psychotherapeutic encounter and intervention. This will highlight the individual’s bodily movement and inter-corporeal ‘proto-dialogue’ as a prior realm of therapeutic intervention. Next, a brief consideration of E. Strauss work [ 31 ] is presented. This paper’s hypothesis is that bodily qualitative dynamics highlighted by phenomenology are essential for an effective mental health therapeutic intervention. A ‘seed’ of a framework is proposed in this paper; this seed assesses some phenomenological assets of a positive conception of mental health, for which self-awareness education is key to develop skills such as _kinaesthetic intelligence_ and _attunement_ and to educate healthy persons who can promote edifying social relations and environments. (shrink)

That i) there is a somehow determined chronology of Plato’s dialogues among all the chronologies of the last century and ii) this theory is subject to many objections, are points this article intends to discuss. Almost all the main suggested chronologies of the last century agree that Parmenides and Theaetetus should be located after dialogues like Meno, Phaedo and Republic and before Sophist, Politicus, Timaeus, Laws and Philebus. The eight objections we brought against this arrangement claim that to (...) place the dialogues like Meno, Phaedo and Republic both immediately after the early ones and before Parmenides and Theaetetus is epistemologically and ontologically problematic. -/- Key Words: Plato; chronology; knowledge; being; Parmenides -/- Introduction While the ancient philosophers, doxographers and commentators from Aristotle onward considered, more or less, the question of the date and arrangement of the dialogues (cf. Irwin 2008, 77 n. 69), they would not observe a firm necessity to consider the progress of Plato’s theories in dialogues, maybe because they did not think of any essential shift in there. We might be able to say, nevertheless, that the most prominent feature of the ancient attitude to Plato was its peculiar attention to the Republic and the Timaeus as the most mature works in his philosophy and also the consideration of Laws as a later work. This tendency can be discovered from the general viewpoint of the first chronologies of the early 19th century after starting to deal with the issue. That Schleiermacher observed Republic as the culmination of Plato’s philosophy and as one of the latest dialogues besides Laws and Timaeus could reflex the implicit chronology of the tradition in the first mirrors it found. Another tendency in Schleiermacher is taking the triology of Theaetetus, Sophist and Politicus as relatively early. From the last quarter of 19th century onward, stylometry helped scholars to establish a new framework to constructa new arrangement between the dialogues. Based on stylistic as well as literary findings, Campbell (1867, xxxff.) argued for the closeness of the style of Sophist and Politicus with Timaeus, Critias, Philebus and Lawsthat, especially because of the certain evidence about this last dialogue’s lateness, led to the consideration of all as late dialogues. Almost every other stylistic effort after Campbell approved the similarities between Sophist and Politicus with Timaeus, Critias, Philebus and Laws. The result of all such investigations led to a new chronology that, despite some differences, has a fixed structure in all its appearances. 1. The Standard Chronology of the Dialogues The chronologies that are now commonly accepted are mostly based on the arrangement of dialogues to three groups corresponding to three periods of Plato’s life, which became predominant after applying stylistic features in assessing the similarities between dialogues. The fact that all the stylometric considerations reached to the similar results about the date of dialogues while they were assessing different stylistic aspects helped the new chronology become prevailing not only among stylistic chronologies but also between those like Fine, Kahn and Vlastos who were inclined more to the content-based arrangements. Even this latter group could not neglect the apparently certain results of using the method of stylometry. This was the main reason, I think, that made what they called content-based chronology be under the domination of stylometry much more than they could expect. The division of the dialogues into three separate groups became something that most of the scholars took for granted so far as Kahn thinks this division 'can be regarded as a fixed point of departure in any speculation about the chronology of the dialogues' (1996, 44). Thereafter, all the chronologists are accustomed to divide the dialogues to three groups of early, middle and late corresponding to the three stages of Plato’s life. Nevertheless, some of them tried to make subdivisions among each group and introduce some of the dialogues as transitional between different periods and thus reached to a fourfold classification of the dialogues. Although theycould never achieve to a consensus about the place of some dialogues, about which we will discuss soon, the whole spirit of theirchronological arrangements is the same and thus compelling enough for us to unify all of them with the label of 'Standard Chronology of Dialogues' (SCD). We brought together some of the most famous chronologies in the table below to make a comparison easier and to show how all are approximately of the same opinion about the place of some dialogues. The following points must be noted about this table: 1. I divided the dialogues to eight groups of early, late early, transitional, early middle, late middle, post-middle, early late, and late. Although none of the chronologists applies this classification, it can be helpful to compare them. In this table, for example, if one of the chronologist’s beholds one of the dialogues as later than all the dialogues of middle group, it is considered here as late middle. Otherwise, if it is emphasized that it is after all of them, it is considered as post-middle. The same is true about the dialogues of the late group in which I regarded the first dialogues of that period as early late only in those who explicitly considered some dialogues as earlier than other ones in the late group. Though, therefore, some of the dialogues might have not been considered as forming a distinct class, they are distinguished here. A. SCD’s Early and Transitional Dialogues When we move from stylometric to content-based chronologies, the homogeneity between the dialogues of each group is more understandable. Guthrie (1975, v. 4, 50) distinguishes three groups, the first of them includes Apology, Crito, Laches, Lysis, Charmides, Euthyphro, Hippias Minor, Hippias Major, Protagoras, Gorgiasand Ion. In addition to Meno, Phaedo and Euthydems, his first group does not include Cratylus and Menexenus. Unlike Guthrie, almost all the other content-based chronologiesof our study desire to distinguish two categories inside the first group of which the latter must be considered as the transitional group leading to the dialogues of the middle period. Kahn distinguishes four groups of dialogues and arranges two of them before middle period dialogues. The first group including Apology, Crito, Ion, Hippias Minor, Gorgiasand Menexenus he calls 'early' or 'presystematic' dialogues (1998, 124). The second group he calls the 'threshold', 'pre-middle' or 'Socratic' dialogues including seven: Laches, Charmides, Lysis, Euthyphro, Protagoras, Euthydemus and Meno. Based on Vlastos’ arrangement we must distinguish Euthydemus, Hippias Major, Lysis, Menexenus and Meno as 'transitional' dialogues from the 'elenctic' dialogues that are the other dialogues of Kahn’smentioned first two groups plus the first book of theRepublic. Fine also distinguishes 'transitional' dialogues from early or 'Socratic' dialogues,but her transitional dialogues are Gorgias, Meno, Hippias Major, Euthydemus and Cratylus of which she thinks the last two dialogues are 'controversial' (2003, 1). Her Socratic dialogues are all the remaining dialogues of Kahn’s first two groups. In spite of all the differences between the mentioned chronologies, it can be seen that all of them are inclined to arrange the early dialogues in a way that: i) Besides the dialogues that are considered as late, it never includes Republic II-X, Theaetetus, Phaedrus and Parmenides. ii) It intends to consider the dialogues like Euthydemus and Hippias Majorthat look more critical as later among the earlier dialogues or as transitional group. iii) Those who do not consider Meno as a middle period dialogue place it in their second or transitional group. iv) None of the content-based chronologies considers Phaedo and Symposium as early. Stylometric chronologies also intend to put them either as last dialogues among their early ones or as middle. B. SCD’s Middle Period Dialogues Campbell listed Republic, Phaedrus, Parmenides and Theaetetus as his second group of dialogues, an idea thatwas accepted by Brandwood. Ledger’smiddle period dialogueshad Euthydemus, Symposium and Cratylus in addition to the dialogues that Campbell and Brandwood had mentioned as middle. Among content-based chronologies, Guthrie’s list of middle period dialogues did not include Parmenides but some dialogues which had been considered as early in stylometric ones: Meno, Phaedo, Republic, Symposium, Phaedrus, Euthydemus, Menexenus and Cratylus. In sofar as I know, Euthydemus and Menexenus have not been considered as middle by other content-based chronologists and Guthrie is an exception among them. That Phaedo, Phaedrus, Symposium and Republic were middle period dialogues almost all the philosophical chronologists like Kahn, Fine, Vlastos (except Rep.I), Irwin andKraut came along. The dialogues they do not string along about are Meno, Cratylus, Parmenides and Theaetetus. Those like Guthrie, Kraut and Irwin who did not consider Meno as early presumably posit it among middles. The same can be said about Cratylus in the suggested chronologies of Guthrie, Kahn, Vlastos and Kraut. Nonetheless, it is different in case of Parmenides and Theaetetus. Whereas all the mentioned stylometric chronologists like Campbell, Brandwood and Ledger set them among middle period dialogues,the philosophical chronologists, it might seem at first, did not arrive at a consensus about them. While Guthrie and Fine put them as the first dialogues of the late group, Vlastos and Kraut set them as the latest of the middle group, as well as Kahn who puts them as post-middle and amongst the late period dialogues. Regardless the way they classify their groups, their disagreement does not affect the arrangement of the dialogues: they all posit Parmenides and Theaetetus after the series of Meno, Phaedo, Phaedrus, Symposium and Republic and before Sophist, Politicus, Timaeus, Philebus and Laws. To sum up SCD’s arrangement of the middle period dialogues we can add: v) Republic and Phaedrus have been considered by all the mentioned chronologists as dialogues of the middle period. vi) All the philosophical chronologies have reached a consensus about setting Phaedo and Symposium alongside with Republic and Phaedrus as middle. vii) While Stylometric alongside some philosophic chronologists arrange Parmenides and Theaetetus among their middle period dialogues and mostly as the latest among them, other philosophical chronologists put them as the early among the late dialogues. We can conclude then that SCD intends to locate these two dialogues at the boundary between the middle and late period dialogues. -/- . (shrink)

Following the philosophy of embodiment of Merleau-Ponty, Jonas and others, enactivism is a pivot point from which various areas of science can be brought into a fruitful dialogue about the nature of subjectivity. In this chapter we present the enactive conception of agency, which, in contrast to current mainstream theories of agency, is deeply and strongly embodied. In line with this thinking we argue that anything that ought to be considered a genuine agent is a biologically embodied (even if (...) distributed) agent, and that this embodiment must be affectively lived. However, we also consider that such an affective agent is not necessarily also an agent imbued with an explicit sense of subjectivity. To support this contention we outline the interoceptive foundation of basic agency and argue that there is a qualitative difference in the phenomenology of agency when it is instantiated in organisms which, due to their complexity and size, require a nervous system to underpin their physiological and sensorimotor processes. We argue that this interoceptively grounded agency not only entails affectivity but also forms the necessary basis for subjectivity. (shrink)

This paper provides an account of improvisational artistry in live dance performance that construes the contribution of the dance performer as a kind of agency. Andy Clark’s theory of the embodied and extended mind is used in order to consider how this account is supported by research on how a thinking-while-doing person navigates the world. I claim here that while a dance performer’s improvisational artistry does include embodied and extended features that occur outside of the brain and nervous system that (...) this can be construed as “agency” rather than “thought.” Further I claim that trained and individual style accounts for how this agency acquires its artistic nature. This account thus contributes to the philosophy of improvisation in dance performance in a way that includes motor as well as cognized intentions. (shrink)

The Greek polis has been arousing interest as a subject for study for a long time, but recent approaches have shown that it is a subject on which there are still important questions to be asked and worthwhile issues to be explored. This book contains a selection of essays which embody the results of the latest research. Beyond the historical development of the Greek polis , the contributors ask questions about the civic institutions of ancient Greece as a whole (...) and their relationships to each other. Questions of power or the significance of a written code of law are discussed as well as the nature of Greek overseas settlements. Development of the Greek Polis presents up-to-date research and asks up-to-date questions on various aspects of an important topic. (shrink)

This article exposes the role of expressive culture in the rise and spread of late twentieth-century Hindu identity politics. I examine how Hindu nationalism is fuelled by an affective attachment to the Indian classical dancer. I analyse the affective logics that have crystallised around the now iconic Indian classical dancer and have situated her gendered and athletic body as a transnational, globally circulating emblem of an authentic Hindu and Indian national identity. This embodied identity is represented by the historical South (...) Indian temple dancer and has, in the postcolonial era, been rebranded as the nationalist classical dancer—an archetype I refer to as the modern courtesan. I connect the modern courtesan to transnational forms of identity politics, heteropatriarchal marriage economies, as well as pathologies of gender violence. In so doing, I examine how the affective politics of ‘Hinduism’ have functionally weaponised the Indian dancing body. I argue that the nationalist and now transnationalist production of the classical dancer-courtesan exposes misogyny and casteism and thus requires a critical feminist dismantling. This article combines ethnographic fieldwork in classical dance studios in India and the United States with film and popular media analysis to contribute to critical transnational feminist studies, as well as South Asian gender, performance and media studies. (shrink)

Mimesis can refer to imitation, emulation, representation, or reenactment - and it is a concept that links together many aspects of ancient Greek Culture. The Western Greek bell-krater on the cover, for example, is painted with a scene from a phlyax play with performers imitating mythical characters drawn from poetry, which also represent collective cultural beliefs and practices. One figure is shown playing a flute, the music from which might imitate nature, or represent deeper truths of the cosmos based (...) upon Pythagorean views (which were widespread in Western Greece at the time). The idea that mimesis should be restricted to ideals was made famous by Plato (whose connections to Pythagoreanism and Siracusa are well-known), and famously challenged by his student Aristotle (not to mention by the mimetic character of Plato’s own poetry). This volume gathers essays not only on the philosophical debate about mimesis, but also on its use in architecture, drama, poetry, history, music, ritual, and visual art. The emphasis is on examples from Hellenic cities in Southern Italy and Sicily, but the insights apply far beyond – even to modern times. Contributors include: Thomas Noble Howe, Francisco J. Gonzalez, Gene Fendt, Guilherme Domingues da Motta, Jeremy DeLong, Carolina Araújo, Marie-Élise Zovko, Lidia Palumbo, Sean Driscoll, Konstantinos Gkaleas, Anna Motta, Jure Zovko, Alexander H. Zistakis, Christos C. Evangeliou, Dorota Tymura, Iris Sulimani, Elliott Domagola, Jonah Radding, Giulia Corrente, Laura Tisi, Ewa Osek, Argyri G. Karanasiou, Rocío Manuela Cuadra Rubio, Jorge Tomás García, Aura Piccioni, and José Miguel Puebla Morón. (shrink)

This book discusses how Plato, one the fiercest legal critics in ancient Greece, became – in the longue durée – its most influential legislator. Making use of a vast scholarly literature, and offering original readings of a number of dialogues, it argues that the need for legal critique and the desire for legal permanence set the long arc of Plato’s corpus—from the Apology to the Laws. Modern philosophers and legal historians have tended to overlook the fact that Plato (...) was the most prolific legislator in ancient Greece. In the pages of his Republic and Laws, he drafted more than 700 statutes. This is more legal material than can be credited to the archetypal Greek legislators—Lycurgus, Draco, and Solon. The status of Plato’s laws is unique, since he composed them for purely hypothetical cities. And remarkably, he introduced this new genre by writing hard-hitting critiques of the Greek ideal of the sovereignty of law. Writing in the milieu in which immutable divine law vied for the first time with volatile democratic law, Plato rejected both sources of law, and sought to derive his laws from what he called ‘political technique’. At the core of this technique is the question of how the idea of justice relates to legal and institutional change. Filled with sharp observations and bold claims, Platonic Legislations shows that it is possible to see Plato—and our own legal culture—in a new light “In this provocative, intelligent, and elegant work D. L. Dusenbury has posed crucial questions not only as regards Plato’s thought in the making, but also as regards our contemporaneity.”—Giorgio Camassa, University of Udine “There is a tension in Greek law, and in Greek legal thinking, between an understanding of law as unchangeable and authoritative, and a recognition that formal rules are often insufficient for the interpretation of reality, and need to be constantly revised to match it. Dusenbury’s book illuminates the sophistication of Plato’s legal thought in its engagement with this tension, and explores the potential of Plato’s reflection for modern legal theory.”—Mirko Canevaro, The University of Edinburgh. (shrink)

The philosophers of the Hellenistic schools in ancient Greece and Rome (Epicureans, Stoics, Sceptics, Academics, Cyrenaics) made important contributions to the philosophy of mind and the philosophy of psychology. This volume, which contains the proceedings of the Fifth Symposium Hellenisticum, describes and analyses their contributions on issues such as: the nature of perception, imagination and belief; the nature of the passions and their role in action; the relationship between mind and body; freedom and determinism; the role of pleasure as (...) a goal; the effects of poetry on belief and passion. Written with a high level of historical and philosophical scholarship, the essays are intended both for classicists and for specialists interested in the philosophy of mind. (shrink)

What is the significance of the recurring link between tyranny and philosophy in Plato? Often, Plato’s treatment of tyranny is discussed either in the context of moral psychology—as a problem of agency, moral choice and akrasia — or political science, where it is the limit case of political decline. It is suggested, however, that a close inspection of the myth of Er and an elucidation of its neglected links, not just with the rest of the Republic but also with (...) class='Hi'>dialogues such as the Philebus and the Symposium, shows that Socrates’ fascination with tyrannical characters points to a deeper theme — nature, and specifically the problem of its benevolence to our purposes and its very ambiguous relation to human excellence and degradation. Philosopher and tyrant, for all the radical differences between them, both illuminate the internal instability of the human being in Plato’s thought. (shrink)

What is the significance of the recurring link between tyranny and philosophy in Plato? Often, Plato’s treatment of tyranny is discussed either in the context of moral psychology—as a problem of agency, moral choice and akrasia — or political science, where it is the limit case of political decline. It is suggested, however, that a close inspection of the myth of Er and an elucidation of its neglected links, not just with the rest of the Republic but also with (...) class='Hi'>dialogues such as the Philebus and the Symposium, shows that Socrates’ fascination with tyrannical characters points to a deeper theme — nature, and specifically the problem of its benevolence to our purposes and its very ambiguous relation to human excellence and degradation. Philosopher and tyrant, for all the radical differences between them, both illuminate the internal instability of the human being in Plato’s thought. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

This essay examines three works by three women writers whose strategies for rewriting the past include a revisionary engagement with the cultural legacies of Ancient Greece and Rome: The Emperor’s Babe: A Novel, Looking for Livingstone: An Odyssey of Silence, and Voyage of the Sable Venus. It argues that each embodies a mode of resistance that both protests the historic oppression of women of colour and asserts a black female agency, insisting on an empowered present and future. In achieving (...) this, all three transgress or subvert conventional generic distinctions between verse and prose, and, in Lewis’s case, between the cultural forms and academic disciplines of art, art history and literature. Each work insists on a transnational conception of black identity, implicitly tracing black diasporic experience through Africa, Europe and the Americas, and asserting the continued interconnections between these three. And, in their confrontations with the histories of colonialism, empire and slavery, each invokes not just the history of the seventeenth to twenty-first centuries ce but also the cultures of Ancient Greece and Rome, the legacies of which underpinned these modern European processes of domination. Of the three works discussed here, those by Evaristo and Lewis ultimately constitute works of greater subversive power than does that of Philip. (shrink)

I attempt in this paper to argue a thesis that is the opposite of the standard reading of Plato’s Symposium. I maintain that it is not the persuasive speech of thecomic or tragic poets that is criticized and undermined in the dialogue, but Socratic dialectic and dialogical argumentation. This is to say, it is not Aristophanes’ and Agathon’s speeches that are the object of Plato’s critique, but Socrates’ minimalist and rather unpoetic elenchos. My anaysis leads to the conclusion that Diotima’s (...) speech is meant to be recognized as Plato’s own invention in order to highlight the abstraction and utter unmusicality of Socratic dialectic. (shrink)

The article investigates the problem of the correlation between sense and communicative situation which characterizes philosophical and scientific texts. The analysis of ancient genre of “table-talk", which goes back to Plato's dialogue “Banquet", shows that the dialogue as a text construction form defines the philosophical sense of the text in coordination with communication features of a real table-talk (symposion). This communicative mechanism coordinates text (dialogue) and reality (symposion), and its action can be clarified by “format of text" concept. It (...) is determined by three essential characteristics of the text: the circumstances of his generation, communicative situation between the author and the reader, and the form of the text. The variety of formats in every cultural and historical situation is determined, in its turn, by the actual text culture.dentification and analysis of symposion format allows to trace the transformation of its textual expression of “Table Talk" through “aphorisms" of modern times to modern “abstract" and “round table materials". It is noted that the process of cultural transformation of the text reflects the changes in the social reality of the transition from the ancient symposion to the French salon in the seventeenth century and further to modern symposium. It is revealed the basic feature of the modern version of symposion format that is convergence, and sometimes interference of communicative and public dimensions of the text. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bodily Arts: Rhetoric and Athletics in Ancient GreeceMindy FenskeBodily Arts: Rhetoric and Athletics in Ancient Greece by Debra Hawhee. Austin: University of Texas Press, 2004. Pp. xiv + 226. $40.00, hardcover.In Bodily Arts, Debra Hawhee constructs an often compelling, always interesting case for the conceptual and material linkages between the ancient arts of rhetoric and athletics. In so doing, Hawhee also highlights the integral role (...) of the musical arts to rhetorical and athletic training. Throughout the book, Hawhee weaves together close readings of multiple texts (poetry, oratory, sculpture, painting, architecture) in order to illuminate the intricate “network of overlapping practices” that connect the bodies of rhetoric, athletes, and musicians in Ancient Greece. To this reader, the central strengths of the study are methodological as well as conceptual. In terms of method, Hawhee carefully and with studied finesse integrates close readings of visual, spatial, and verbal texts and practices. In the wrong hands, this type of endeavor can easily appear as the worst kind of pastiche. Not so in this case where Hawhee manages the textual interpretation with deft expertise. Conceptually, the central premise that rhetoric was a practice that was fully embodied and, most importantly, that embodiment was not in a hierarchical relation to reason, rationality, and the mind is provocative. Hawhee argues that the relations of mind-body in Ancient Greek culture were understood as a complex interlocking system that, when trained through physical practices emphasizing rhythm, repetition, and response (to/with an encounter), resulted in the possible transformation of the very nature of the self. [End Page 197]In the process of constructing the argument for the connections between rhetorical and athletic training and performance, Bodily Arts moves through three phases. The Introduction and first three chapters lay the theoretical groundwork for the second phase: the introduction of the concept of phusiopoieses in Chapter 4. Chapters 5–7 then discuss the actual rhetorical and athletic spaces, practices, and bodies of and in phusiopoiesis.The introduction opens with description of a first-century BC bronze statue of an “Antikythera Youth” (3). Hawhee uses the mystery surrounding the identity of the figure (deciphered largely through interpretations of the actions implied by the stature of the statue) to articulate the connections between the body of the rhetor and the body of the athlete as well as to introduce the importance of the body to Greek values of hexis (comportment) and aretē (virtuosity). The Introduction also presents three critical relations that serve both as conceptual departure points as well as hail the multiple audiences of the book: relations of body and mind, learning and performing, and classical studies and rhetorical studies. Hawhee’s perspective is quite straightforwardly that rhetoric is an art that required physical training and physical performance.Chapter 1, “Contesting Virtuosity: Agonism and the Production of Aretē,” connects the values of agon and aretē and argues that the “very logic for linking rhetoric and athletics” lies at the heart of this relation (22). Hawhee argues that agon and aretē are less about ends (victory and virtue) and more centrally concerned with embodied processes. Agon, through Hawhee’s reading of Hesiod’s Work and Days, is articulated as a mode of encounter that produces a particular, and possibly transformative, response. Aretē is the bodily performance of virtuosity. Central to this performance, according to Hawhee’s interpretation of the Olympic ethos through Pindar’s poetry, is the activity of questing. Aretē is demonstrated rather than simply won or attained. Following these definitions of agon and aretē, the chapter moves to illustrating the shared language of rhetoric and athletics in terms of these values. Hawhee argues that this shared vocabulary confirms that sophistic rhetoric was understood and practiced as an embodied and agonistic art “fused and infused” with athletics (43).In Chapter 2, “Sophistic Mētis : An Intelligence of the Body,” Hawhee describes mētis as cunning and somatic becoming that “infuses the arts of rhetoric and athletics with a kind of bodily intelligence... not an explicit set of precepts but rather a tacit style of movement running through most kinds of actions, including thought” (47). Moreover, the movement of mētis [End Page 198] is corporeal. It... (shrink)

What if Plato's Symposium took place in present-day America rather than in ancient Athens? The Thanksgiving Symposium imagines this, and makes it happen. Like Plato's dialogue, The Thanksgiving Symposium focuses on the age-old question: what is the nature of love? In The Thanksgiving Symposium, three men and three women of varying ages and degrees of closeness meet for Thanksgiving dinner. Their particular situations give rise to a discussion of love in the general and the specific, leavened with the normal (...) give and take of social interaction. During the evening, much is discussed and some things are decided. Plato's dialogue verges on being a play about philosophy rather than a philosophy, people discussing things rather than a philosopher telling us what to conclude. The Thanksgiving Symposium develops this aspect of Plato while offering a new philosophy that responds to the old. Is the result a play? A dialogue? A philosophy? Like Plato's Symposium, it is all of these at once. (shrink)

Sôphrosunê ("self-discipline") is the often-forgotten sibling of justice, wisdom, courage, and piety in discussions of canonical Greek virtues. Christopher Moore shows that during the classical period it was the object of significant debate--about its scope, its feel, its practical manifestations, and its value. By interpreting sôphrosunê as a commitment to norm-following, we see that these pointed discussions of the virtue, previously ignored as parodic moralizing or expressions of political propaganda, are in fact concerned with the ideal of human agency. These (...) discussions query the way we become fully responsible for our actions. Greek thinking about sôphrosunê becomes thinking about self-constitution, our crucial capacity to act on the general reasons that we come to identify with as our own. This perspective explains sôphrosunê's inclusion in Plato's canon of virtues, and before that its frequent appearance in funerary inscriptions, elegiac poetry, tragic drama, and historiography. It also explains the analytic attention given to it by Heraclitus, the Sophists, the historians, Socrates, Xenophon, and Plato. Moore deals principally with the classical period, though the book includes one chapter addressing earlier poetry and another addressing the virtue in two gender-sensitive post-classical works. An appendix deals with the epigraphic material. For the Greeks (and perhaps for us) there is a virtue of agency, an acquirable capacity to be guided by what's best. Hardly just a concern for reticence and reserve, commitment to sôphrosunê is a commitment to whatever it is that makes us truly ourselves. (shrink)

Pearson points to the radical questioning of the traditional Greek ethic, which is found in the classical dramatic literature of fifth century Athens, as an example of popular ethics. The philosophic discussion of the Socratic-Platonic tradition supplanted this popular ethics in the fourth century. Many of the problems discussed in the philosophic literature were taken over as developed and articulated by the classical dramatists. Thus, three ethical traditions are described and related in this book: the "traditional" ethics coming from Homer, (...) Hesiod, and Solon, the "popular" ethics of the classical dramatists, and the technical "philosophic" ethics of Plato. The main effort of the book is to discuss the popular ethics as related to both the traditional and philosophic ethics The student of the Platonic dialogues will find the book of great value in identifying the various positions represented by the dramatis personae of the dialogues.--W. G. E. (shrink)

This chapter explores the practice of Body Weather (BW), a postmodern dance methodology, addressing how BW performers experience and enact agency in this context of practice. Adopting a cognitive ecological, ethnographic, and phenomenological approach, this work focuses on the creation of AURA NOX ANIMA (2016) – a short dance film directed by Sydney-based visual artist Lux Eterna and filmed on the sandy dunes in Anna Bay, New South Wales, Australia – to underscore the role played by the physical and cultural (...) environment in shaping BW performers’ sense of agency. Through the analysis of salient features of BW methodology, that include the practice of bisoku, slow movement, and the cultivation of an attention to the changing ‘weather’ of the performance ecology, this chapter suggests an ecological notion of agency as a key concept in the study of embodied cognition in performance. The chapter emphasises the relevance of addressing the environment-culture-context situatedness in the study of performance practices. (shrink)

This paper argues that Hegel’s account of subjectivity and agency as historically coined is essential to an accurate understanding of his theory of tragedy. Focusing on Sophocles’ Oedipus the King, I argue that Hegel’s historical account of agency is necessary for understanding his theory of the ancient tragic hero. Although Hegel’s theory of ancient tragedy is often described in terms of a conflict between ethical spheres embodied in two individuals, the conflict in Oedipus is between Oedipus’ deeds and (...) his later knowledge of what has actually occurred. I show how this seemingly subjective conflict is in keeping with Hegel’s theory. Further, while Hegel sees Oedipus as wrong to take full moral accountability for the consequences of his deeds, at the same time, for Hegel, this is the right action for a tragic hero, and the very thing that renders Oedipus timelessly and tragically heroic, rather than a mere victim of fate. (shrink)

As a contribution to the burgeoning field of health humanities, this paper seeks to explore the power of dance to mitigate human suffering and reacquaint us with what it means to be human through bringing the embodied practice of dance into dialogue with the work of the French philosopher Maurice Merleau-Ponty. Merleau-Ponty’s conceptualisation of subjectivity as embodied and of intersubjectivity as intercorporeality frees us from many of the constraints of Cartesian thinking and opens up a new way of thinking about (...) how dance functions as a healing art through its ability to ground and reconnect us with self, world, and others--with our humanity. It is argued that through a Merleau-Pontian framework, we can come to appreciate the true potential of dance as a positive and deeply humanising experience, demonstrating how expressive arts practice understood through the lens of philosophical theory can open up new dimensions of understanding and experience in relation to well-being and self- care. (shrink)

The understanding of the soul in the West has been profoundly shaped by Christianity, and its influence can be seen in certain assumptions often made about the soul: that, for example, if it does exist, it is separable from the body, free, immortal, and potentially pure. The ancient Greeks, however, conceived of the soul quite differently. In this ambitious new work, Michael Davis analyzes works by Homer, Herodotus, Euripides, Plato, and Aristotle to reveal how the ancient Greeks portrayed (...) and understood what he calls “the fully human soul.” Beginning with Homer’s _Iliad_, Davis lays out the tension within the soul of Achilles between immortality and life. He then turns to Aristotle’s _De Anima_ and _Nicomachean Ethics_ to explore the consequences of the problem of Achilles across the whole range of the soul’s activity. Moving to Herodotus and Euripides, Davis considers the former’s portrayal of the two extremes of culture—one rooted in stability and tradition, the other in freedom and motion—and explores how they mark the limits of character. Davis then shows how _Helen_ and _Iphigeneia among the Taurians_ serve to provide dramatic examples of Herodotus’s extreme cultures and their consequences for the soul. The book returns to philosophy in the final part, plumbing several Platonic dialogues—the _Republic_, _Cleitophon_, _Hipparchus_, _Phaedrus_, _Euthyphro_, and _Symposium_—to understand the soul’s imperfection in relation to law, justice, tyranny, eros, the gods, and philosophy itself. Davis concludes with Plato’s presentation of the soul of Socrates as self-aware and nontragic, even if it is necessarily alienated and divided against itself. _The Soul of the Greeks_ thus begins with the imperfect soul as it is manifested in Achilles’ heroic, but tragic, longing and concludes with its nontragic and fuller philosophic expression in the soul of Socrates. But, far from being a historical survey, it is instead a brilliant meditation on what lies at the heart of being human. (shrink)

This paper argues that children as members of a perennial psychoclass represent one potential vanguard of an emergent shift in Western subjectivity, and that adult–child dialogue, especially in the context of schooling, is a key locus for the epistemological change that implies. I argue from Herbert Marcuse’s prophetic invocation of a “new sensibility,” which is characterized by an increase in instinctual revulsion towards violence, domination and exploitation and, correspondingly, a greater sensitivity to all forms of life. As the embodiment (...) of a form of philosophical “post-animism” or hylozoism, it represents the evolutionary shift that, it could be argued, our species requires for survival at this historical moment. I suggest that the evolutionary phenomenon of neoteny—the long formative period of human childhood and the pedomorphic character of humans across the life cycle—makes of the adult-collective of school a primary site for the reconstruction of belief. After exploring child–adult dialogue more broadly as a form of dialectical interaction between what John Dewey called “impulse” and “habit,” I argue for a form, or archetype of schooling first articulated in ancient Greece called skholé, a space that functions, according to Jan Masschelein and Maarten Simons, as a “meeting place,” a “form of gathering and action” dedicated to inquiry, and not to the production of calculated, preordained outcomes—a space removed from the world of production, and characterized by a form of temporality associated with childhood: aion, or “timeless time,” as opposed to kronos, or linear time. Skholé is dedicated to emergence and cultural reconstruction, which follows from an educative relationship between adults and children based on understanding the latter as bearers of the “novel,” and on a faith in the “reorganizing potentialities” of childhood impulse, or interest—that is, on natality as a fundamental principle of cultural evolution. (shrink)