A comparative study of the thinkers of China is meant to stimulate philosophical dialogue and not to deliver the observations of the “Man from Mars − the Western reader”. There has been an ongoing debate regarding the validity of interpreting the classical texts of China in the framework of Western philosophical categories and applying classical precepts to contemporary philosophical discussions. While it has been acknowledged that there are differences in cultural traditions, there is also an increasing awareness of the need (...) for sustained and systematic efforts toward formulating philosophical foundations which incorporate diverse intellectual perspectives. Specific topics discussed in the paper are: the parallels between Socrates as a gadfly and Confucius as a wooden bell; “confrontational hermeneutics” (a hermeneutics oriented toward having “a confrontation with a text or a tradition which pays careful attention to otherness of text or tradition”); convergent and divergent evolution of ideas; the parallels between the Book of Odes and Homeric epics; analogical reasoning from India, China, and Greece to Wittgenstein. Reflecting on the continuity of ideas between the philosophical thought of China and the West, we discover a vantage point from which the ideas can be approached with a fresh mind. In the philosophical legacy of China the familiar ideas and problems of Western philosophy are cast in a new light. Philosophical ideas, insofar as they are discoveries and inventions of the human mind, resonate across the ages and across geographical and cultural boundaries. (shrink)

In this book, Eric Havelock presents a challenging account of the development of the idea of justice in early Greece, and particularly of the way justice changed as Greek oral tradition gradually gave way to the written word in a literate society. He begins by examining the educational functions of poets in preliterate Greece, showing how they conserved and transmitted the traditions of society, a thesis adumbrated in his earlier book Preface to Plato. Homer, he demonstrates, has (...) much to say about justice, but since that idea is nowhere in the epics directly stated or expressed, it must be deduced from the speech and actions of the characters. Havelock's careful reading of the Iliad and the Odyssey is original and revealing; it sheds light both on Homeric notions of justice and on the Archaic Greek society depicted in the poems. As Havelock continues his inquiry from Hesiod to Aeschylus, his findings become more complex. The oral Greek world shades into a literate one. Words lose some kinds of meanings, gain others, and steadily become more suited to the conceptualization that Plato strove for and achieved. This evolution of language itself, Havelock shows, was one of the principal accomplishments of the Greek world. Lucidly written and forcefully argued, this book is a major contribution to our knowledge of ancient Greece--its politics, philosophy, and literature, from Homer to Plato. (shrink)

In Plato's Ion & Meno, Socrates questions Ion, an actor who just won a major prize, about his ability to interpret the epic poetry of Homer. As the dialogue proceeds, the nature of human creativity emerges as a mysterious process and an unsolved puzzle. A similar discussion between Socrates and Meno probes the subject of ethics. Can goodness be taught? If it can, then we should be able to find teachers capable of instructing others about what is good and (...) bad, right and wrong, or just and unjust. Socrates and Meno are unable to identify teachers of ethics, and we are left wondering how such knowledge could be acquired. The text is presented in an updated version of the Jowett translation, which helps to bring the work to life for students and non-academic audiences. (shrink)

Are human beings antithetical in nature? Is there a radical difference between pleasure, efficiency, and moral good, or is the conflict only imaginary? These have traditionally been considered the central questions of Plato's most vivid dialogue, the Protagoras. Many interpreters have seen this dialogue as a confrontation between the moralist and the relativist . This dichotomy is manifest when Plato and Protagoras discuss theoretical questions concerning either knowledge of facts or knowledge of values. Through a careful examination of (...) the text, specifically of practical questions about values, Oded Balaban breaks with tradition by concluding that Plato and Protagoras do not exemplify characteristic moralism or relativism at all. He finds that the issue at the crux of the discussion is instead that of the criterion for knowledge and valuation; the Protagoras thus describes the search for a standard by which anything may be known and valued. Balaban applies the fundamental question of standards to that of the entire field of rhetoric: Should a discourse be short or long, simple or complex? What is the standard for conducting literary criticism? The author's revolutionary approach to the Protagoras also involves a study of the myth of Protagoras and situates the dialogue within its framework. (shrink)

The aim of craft-analogies in Plato's early dialogues is to put forward a theory of knowledge in which only the content of intentional processes can be known. I will argue that, with this goal in mind, Plato offers an idea of craft that differs from, and is even opposed to the views of his time, as well as to those of our own day, by changing the prevailing definition of craft—from the expertise of means to the expertise of (...) ends. I will address the far-reaching consequences of this shift. Part 1 will expose what I understand by Plato's approach to craft. Part 2 will expose Plato's denial of the actual existence of the process of knowledge reducing it to its object or reference. Part 3 will address what I think are misinterpretations of Plato approach. Part 4 will present some textual evidence. And in Part 5 I will analyse Plato's shuttle-analogy, the more sophisticated of his craft-analogies. Finally, I will append a critical note on Terence Irwin's understanding of virtue as craft-knowledge. (shrink)

This article discusses the historical similarities and differences between Schroedinger's and de Broglie's ideas on wave mechanics and gives a biographical account of their scientific relationship. Their arguments over questions such as quantum jumps, the viability of particles within wave mechanics theory, and the inclusion of space, time, and relativity in quantum mechanics are analyzed. The final section of the paper considers the overall role of Schroedinger's ideas in modern quantum mechanics.

Scientists are rapidly mapping the chemical and physical pathways that constitute biological systems, making the complexity of processes such as inheritance, development, evolution, and even the origin of life increasingly tractable. Through genetics and neuroscience, biological understanding is now being extended deeply into the human sciences and has begun to transform our understanding of behavior, mind, culture, and values. The idea of a science-driven unity of knowledge has reemerged in several forms in both reductionist and nonreductionist frameworks. This volume (...) examines some of the extraordinary empirical discoveries that have caused a revival of this idea and presents theories from thinkers in a variety of disciplines, including E. O. Wilson, Eric Kandel, and Elaine Scarry. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Search of the ClassicEdward E. FosterIn Search of the Classic, by Steven Shankman; xvi & 331 pp. University Park: Pennsylvania State University Press, 1995, $55.00 cloth, $18.95 paper.“In search of” in the title of a book is often a code warning of lukewarm conviction or academic disingenuousness. In Shankman’s title, however, the phrase is literally appropriate because he forthrightly argues that the classic is, of its (...) nature, something that always exists in quest and tension. The classic is not to be located merely in classical antiquity or in the tastes of a privileged class. Though Shankman grants that these often are associated with the literary classic, he finds the nature of the classic rather in the nature of literature as a state of metaxis or “in-betweenness.” His examinations of classical, neo-classical, and modern works define various aspects of this “in-betweenness,” the state of tension that exists in the truly classic at any point in the history of literature.Although Shankman dismisses Derrida, Foucault, de Man, and others for having mistaken their own destruction of Enlightenment rationalism for a demonstration that rationality is impossible, he is not wildly original. He uses Habermas’s notion of classic literature as enduring and independent of time and Vogelin’s concept of metaxis as foundational for his sprawling, yet lucid, inquiry into the idea of the classic in Homer, Plato, Aristotle, Pindar, Virgil, Dryden, Defoe, Swift, Valery, and others, and in the traditions of the epic, ode, pastoral, and lyric.Fundamental is the view that classic literature has the greatest power to represent human experience. To avoid the hermeneutical conundrum of the subject-object dilemma, Shankman asserts literature to be in “a middle place” from Plato and Aristotle on. He sees a basic agreement between them on how literature stands between the One and the Many. Put negatively, literature is not sparks from the One or compilations of the Many. Rather it is a mediator between these polarities: classic literature accommodates the propositional purity of philosophy to the indeterminacy of thing-reality. Literature is neither an abstract kernelization of truth nor an anthology of the things of experience [End Page 256] but an analogical conjunction of the two extremes—therefore tension, therefore continual quest.Using Plato, especially the Cratylus and the Symposium, and Aristotle, especially the Metaphysics and the Poetics, Shankman describes a rationality that exists in literature that is clearly identified in his chapter on Swift’s Gulliver’s Travels by emphasizing the idea of man as an animal capax rationis. This in itself places man’s literary enterprise in a middle place and Shankman explores its various implications in a variety of works. From this perspective, it is argued that literature must be about something that matters; that pure poetry or reflexive poetry cannot achieve the ambiguity of analogy as the central core that the classic requires. Thus, Plato never rejected poetry—only the debasement of poetry into either the fantastical or literal (or the confusion of the two.)The true classic walks a line between ignorance and knowledge, rhetoric and philosophy, literalism and fantasy, “thing-reality” and “the ideal.” The Aeneid makes a good test case. It is at once a piece of propaganda and a statement of an ideal that is complicated by the duplicity of Aeneas’ abandonment of Dido, the brutality of his killing of Turnus, and his emergence in Book VI from the underworld by the Gate of Ivory (false dreams). Such tension is exemplary of what Shankman sinuously argues is at the heart of “the classic” in a variety of other works.The argument is persuasive and attractive, even if not compelling, in a world where many critics would have us believe that all of literature, canonical or not, is disappearing into nontext. That about half of the chapters are adaptations of previously published articles risks a discontinuity that is largely avoided by recapitulations of where we are in the exposition of our struggle in a continuing and intrinsic state of rational metaxis. I like the idea, but I must reserve judgment on a thesis that attends to the poetry of Yvor Winters and E. V. Cunningham... (shrink)

The Straniak Philosophy Prize 1995 awarded by the Hermann and Marianne Straniak Foundation Sarnen/Switzerland This book explores Eastern and Western ideas of freedom and reveals the essential differences, as well as similarities, between Eastern and Western cultural values. Inspired by an ancient Greek myth recounted by Protagoras, the authors suggest that three important values tend to motivate human activity: achieving pleasure, achieving results, and obeying moral law. Then, drawing on intellectual sources ranging from traditional Hinduism to modern existentialism, the (...) authors proceed to show how these values - pleasure, efficiency, and morality - determine the idea of freedom as it appears in various philosophical systems of East and West. In the course of their analysis, the idea of freedom is itself emancipated from the usual kinds of cultural boundaries that have so often limited both its usefulness and its timeliness. (shrink)

The eminent philosopher and classical scholar Alexander Nehamas presents here a collection of his most important essays on Plato and Socrates. The papers are unified in theme by the idea that Plato's central philosophical concern in metaphysics, ethics, and aesthetics was to distinguish the authentic from the fake, the original from its imitations. In approach, the collection displays Nehamas's characteristic combination of analytical rigor and sensitivity to the literary form and dramatic effect of Plato's work. Together, the (...) papers represent Nehamas's distinct and original contributions to scholarship on Plato and Socrates and serve as a comprehensive introduction to the thought of these two philosophers.In the book's opening section, Nehamas discusses Plato's representation of Socrates as a model of authentic human goodness, showing that Plato's Socrates is a more skeptical, troubling, and individualistic thinker than is usually supposed. The papers in the second section form a sustained defense of a new and important understanding of Plato's theory of the forms and the evolution of that theory in Plato's later writings. The third section examines Plato's contention that popular entertainment--by which he meant Greek epic and tragic poetry--misleads its audience into a debased life, an argument Nehamas relates to modern anxieties about television and other forms of popular culture. The collection also includes a discussion of Plato's use of the dialogue form in his representation of Socrates and carefully examines the combination of literary and philosophical elements in his work.Nehamas argues in the book that Plato's specific judgments of what is authentic are often flawed, but that his idea of authenticity as the mark of truth, beauty, and goodness is stronger than many modern scholars have assumed. In drawing together Nehamas's many influential ideas about Plato and Socrates, Virtues of Authenticity is a major contribution to the study of ancient Greek philosophy. (shrink)

The fascination of beauty has given rise to a long-standing European philosophical tradition on the idea of beauty the beginnings of which link back to ancient Greek mythology. However, at the dawn of Modernity the discourse on beauty slowly disappeared from theory and philosophy. While classical tradition dealt with the many and varied aspects of beauty in relation to cosmos, man's way of life, education and the arts, modern theory trivialized the idea of beauty and finally abandoned the topic. This (...) book is an attempt to put beauty on the agenda again by reviewing the very origin of this ancient idea. The reflections on beauty and the ugly are present already in Homer's mythology, and these ideas are further developed and refined in Plato's philosophy. Also Cicero is guided by the Greek legacy in his approach to life, rhetoric, and beauty. The examination of the ancient sources shows the profound knowledge, the elegance, the charm and wit present in ancient thinking. Instead of being just history, these sources hold sound counselling highlighting the importance of beauty. In this way the ancient legacy constitutes a challenge to the arrogance of modern thinking. (shrink)

Different families of transport proteins catalyze transmembrane solute translocation, employing different mechanisms and energy sources. Several of these functionally dissimilar proteins nevertheless exhibit similar strutural units, consisting of six tightly packed α‐helices which may comprise all or part of a transmembrane channel. It is now recognized that some of these families arose independently of each other by convergence, while others arose from common precursors by divergence. The former families apparently arose at different times in evolutionary history, in different groups of (...) organisms, employing different routes. (shrink)

As well as producing one of the finest of all poetic traditions, ancient Greek culture produced a major tradition of poetic theory and criticism. Halliwell's volume offers a series of detailed and challenging interpretations of some of the defining authors and texts in the history of ancient Greek poetics: the Homeric epics, Aristophanes' Frogs, Plato's Republic, Aristotle's Poetics, Gorgias's Helen, Isocrates' treatises, Philodemus' On Poems, and Longinus' On the Sublime. The volume's fundamental concern is with how the Greeks (...) conceptualized the experience of poetry and debated the values of that experience. The book's organizing theme is a recurrent Greek dialectic between ideas of poetry as, on the one hand, a powerfully enthralling experience in its own right and, on the other, a medium for the expression of truths which can exercise lasting influence on its audiences' views of the world. Citing a wide range of modern scholarship, and making frequent connections with later periods of literary theory and aesthetics, Halliwell questions many orthodoxies and received opinions about the texts analysed. The resulting perspective casts new light on ways in which the Greeks attempted to make sense of the psychology of poetic experience—including the roles of emotion, ethics, imagination, and knowledge—in the life of their culture. Readership: Scholars and students of Greek literature, Greek poetics, and literary theory and criticism. (shrink)

For most of the vast span of human history, economic growth was all but nonexistent. Then, about two centuries ago, some nations began to emerge from this epoch of economic stagnation, experiencing sustained economic growth that led to significant increases in standards of living and profoundly altered the level and distribution of wealth, population, education, and health across the globe. The question ever since has been--why? This is the first book to put forward a unified theory of economic growth (...) that accounts for the entire growth process, from the dawn of civilization to today. Oded Galor, who founded the field of unified growth theory, identifies the historical and prehistorical forces behind the differential transition timing from stagnation to growth and the emergence of income disparity around the world. Galor shows how the interaction between technological progress and population ultimately raised the importance of education in coping with the rapidly changing technological environment, brought about significant reduction in fertility rates, and enabled some economies to devote greater resources toward a steady increase in per capita income, paving the way for sustained economic growth. Presents a unified theory of economic growth from the dawn of civilization to today Explains the worldwide disparities in living standards and population we see today Provides a comprehensive overview of the three phases of the development process Analyzes the Malthusian theory and its empirical support Examines theories of demographic transition and their empirical significance Explores the interaction between economic development and human evolution. (shrink)

_ Source: _Volume 24, Issue 2, pp 224 - 278 This article discusses the anonymous early kabbalistic work _Sefer Maʿayan ha-Ḥokhmah_, one of the pivotal works of ʿIyyun literature. The first part deals with the book’s historical and literary aspects. The second part interprets a specific formulation in light of the basic ideas of the book itself, presenting the twofold pattern as a mystical type and as a grounding for linguistic-theological theory. The third part discusses the term “positive (...) theology” in the theosophical and religious dimension, from the phenomenological perspective of extrovertive mysticism, and as a linguistic structure that provides the layer of signs as a stable basis for the restrained progress of Tongue. Acquiring the source as hidden but attendant by its constant grounding as a part of linguistic progression, uses the bifocal sight of binary extrovertive mysticism to denote the twofold structure of each being and each part of speech. (shrink)

This book compares and contrasts publicly espoused security concepts in the Nordic region, and explores the notion of societal security. Outside observers often assume that Nordic countries take similar approaches to the security and safety of their citizens. This book challenges that assumption and traces the evolution of 'societal security', and its broadly equivalent concepts, in Sweden, Norway, Denmark and Finland. The notion of societal security is deconstructed and analysed in terms of its different meanings and implications (...) for each country, through both country- and issue-focused studies. Each chapter traces the evolution of key security concepts and related practices, allowing for a comparison of similarities and differences between these four countries. Using discourses and practices as evidence, this is the first book to explore how different Nordic nations have conceptualised domestic security over time. The findings will be valuable to scholars from across the geographical and theoretical spectrum, while highlighting how Nordic security discourses and practices may deviate from traditional assumptions about Nordic values. This book will be of much interest to students of security studies, Nordic politics and International Relations. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This prose translation of the Odyssey is so successful that it has taken its place as one of the few really outstanding versions of Homer's famous epic poem. It is the story of the return of Odysseus from the siege of Troy to his home in Ithaca, and of the vengeance he takes on the suitors of his wife Penelope. Odysseus's account of his adventures since leaving Troy includes his encounter with the enchantress Circe, his visit to the Underworld, and (...) the lure of the Sirens. 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 volume uncovers the most pragmatic and pragmatist aspects of Ludwig Wittgenstein’s philosophy, particularly of On Certainty, through a comparison with the pragmatist tradition as expressed by Charles S. Peirce and William James. On Certainty is often described as 'pragmatic' in literature and this pragmatic aspect is said to characterize a new turn in its author’s thought. Yet, what is still missing is a study of what specifically are the features which make these writings 'sound like pragmatism', as Wittgenstein himself (...) put it (OC 422). The book therefore aims to verify if and to what extent it is possible to sustain that there is an objective convergence between his thought and pragmatism. In doing so, the volume also proposes a clarification of the main differences between Peirce’s and James’ vision of some key ideas of classical pragmatism like doubt and certainty, common sense, the pragmatic maxim, action. Among the achievements of the work are: an analysis of Wittgenstein’s first mention of pragmatism; some pieces of evidence in favour of the hypothesis that Wittgenstein did read some works by Peirce; a documented investigation on the relevance of Frank Ramsey for the development of Wittgenstein’s idea of pragmatism. The volume does not sustain the thesis that Wittgenstein was a pragmatist (nor the opposing thesis that he was not), but highlights the objective convergences and the divergences between his perspective and pragmatism through a balanced analysis running both on an exegetical and on a theoretical level. (shrink)

A lively dialogue between a foreign philosopher and a powerful statesman, Plato's Laws reflects the essence of the philosopher's reasoning on political theory and practice. It also embodies his mature and more practical ideas about a utopian republic. Plato's discourse ranges from everyday issues of criminal and matrimonial law to wider considerations involving the existence of the gods, the nature of the soul, and the problem of evil. Translated by the distinguished scholar Benjamin Jowett, this edition is an (...) authoritative choice for students of philosophy, political science, and literature. (shrink)

Gladstone's ideas are far more accessible for analysis now that, following the publication of his diaries, a record of his reading is available. This book traces the evolution of what the diaries reveal as the statesman's central intellectual preoccupations, theology and classical scholarship, as well as the groundwork of his early Conservatism and his mature Liberalism. In particular it examines the ideological sources of Gladstone's youthful opposition to reform before scrutinizing his convictions in theology. These are shown to (...) have passed through more stages than has previously been supposed: he moved from Evangelicalism to Orthodox High Churchmanship, on to Tractarianism and then further to a broader stance that eventually crystallized as a liberal Catholicism. His classical studies, focused primarily on Homer, also changed over time, from a version that was designed to defend a traditional worldview to an approach that exalted the depiction of human endeavour in the ancient Greek poet. An enduring principle of his thought about religion and antiquity was the importance of community, but a fresh axiom that arose from the modifications of his views was the centrality of all that was human. The twin values of community and humanity are shown to have conditioned Gladstone's rhetoric as Liberal leader, so making him, in terms of recent political thought, a communitarian rather than a liberal, but one with a distinctive humanitarian message. As a result of a thorough scrutiny of Gladstone's private papers, the Victorian statesman is shown to have derived a distinctive standpoint from the Christian and classical sources of his thinking and so to have left an enduring intellectual legacy. It becomes apparent that his religion, Homeric studies and political thought were interwoven in unexpected ways.The evolution of Gladstone's central intellectual preoccupations, with religion and Homer, is the theme of this book. It shows how the statesman developed from Evangelism to Orthodox High Churchmanship, on to Tractarianism and then further to a broader stance that eventually crystallized as a liberal Catholicism. It demonstrates also that his Homeric studies developed over time. Neither aspect of his thinking was kept apart from his politics. Gladstone's early conservatism emerged from a blend of classical and Christian themes focusing on the idea of community. While that motif persisted in his speeches as Liberal leader, the category of the human emerged from his religious and Homeric ideas to condition the presentation of his Liberalism. In Gladstone's mind there was an intertwining of theology, Homeric studies and political thought. (shrink)

de Finetti's representation theorem of exchangeable probabilities as unique mixtures of Bernoullian probabilities is a special case of a result known as the ergodic decomposition theorem. It says that stationary probability measures are unique mixtures of ergodic measures. Stationarity implies convergence of relative frequencies, and ergodicity the uniqueness of limits. Ergodicity therefore captures exactly the idea of objective probability as a limit of relative frequency (up to a set of measure zero), without the unnecessary restriction to probabilistically independent events as (...) in de Finetti's theorem. The ergodic decomposition has in some applications to dynamical systems a physical content, and de Finetti's reductionist interpretation of his result is not adequate in these cases. (shrink)

"Throughout history, some books have changed the world. They have transformed the way we see ourselves - and each other. They have inspired debate, dissent, war and revolution. They have enlightened, outraged, provoked and comforted. They have enriched lives - and destroyed them. Now Penguin brings you the works of the great thinkers, pioneers, radicals and visionaries whose ideas shook civilization and helped make us who we are. Plato's retelling of the discourses between Socrates and his friends on such (...) subjects as love and desire, truth and illusion, spiritual transcendence and the qualities of a good ruler, profoundly affected the ways in which we view human relationships, society and leadership - and shaped the whole tradition of Western philosophy."--Publisher's website. (shrink)

Human beings seem to have been always aware of something they called consciousness and have not stopped wondering what it is, what it does, where it came from, and why we have it. This book is testimony to the continuous attempts to crack the riddle, in the 21st century no less, if not even more than before. The book expresses two major convictions. One is that consciousness has a multiplicity of aspects, which need to be considered in order (...) to deepen understanding of this phenomenon and of ourselves. These include in the very least biology, philosophy, religion, mathematics, physics, physiology, and psychology. The other is that the next phase of human evolution may well be the evolution of consciousness - its expansion, development, and enhanced ability on our part to recognise and control it, shape it and put it to our use for improving our chances of survival and enhancing our happiness. This book is aimed at contributing towards the attainment of this goal. (shrink)

Plato's Sophist is a dialogue which is key to the understanding of Platonic metaphysics and dialectics: its traditional subtitle is 'On Being.' Thomas Taylor's translation was first published in 1804 as part of his Works of Plato - the first ever complete translation of Plato into English. This Students' Edition volume has extensive notes to help those coming anew to the Sophist to grasp some of the important concepts which stand behind the dialogue. Also added is an (...) extract from Proclus On Forms, Reasons and Dialectic (from his Commentary on the Parmenides); a dissertation, On Ideas, by Thomas Taylor; and two modern essays which the Trust hopes will further the understanding of the newcomer to Plato and his tradition. (shrink)

The Phaedo is acknowledged to be one of Plato's greatest masterpieces, showing him both as a philosopher and as a dramatist at the height of his powers. For its moving account of the execution of Socrates, the Phaedo ranks among the supreme literary achievements of antiquity. It is also a seminal document for many ideas deeply ingrained in western culture, and provides one of the best introductions to Plato's thought. This new edition is a revised version of the (...) Clarendon Press translation, and is eminently suitable for readers new to Plato, and ideal for classroom use, thanks to the provision of Stephanus page and letter numbering. 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)

This explores what responsible business practice within the context of Malaysia, an Eastern collective society, diverging from the Western individualistic society where most Corporate Social Responsibility (CSR) research originates. A bottom-up approach was adopted, incorporating different stakeholder perspectives of a case-study firm, widely acknowledged for its CSR programs. Concept mapping method was selected because it is a structural conceptualization method designed to organize and represent ideas from an identified group adding structure to disorganized and subjective ideas. By using concept mapping (...) all the various perspectives and ideas were brought together to create a single conceptualization. The findings from the concept mapping present 101 statements which produced seven clusters; Products & Services, Community Oriented, Stakeholder & Business Value, Employee Oriented, Legal & Ethical Responsibilities, Environmental & Social Oriented, and Philanthropic Oriented. These clusters covered the whole conceptual domain of Corporate Citizenship and demonstrated multiple CSR theories, including corporate sustainability, stakeholder concept, and shared value, were apparent, while also uncovering some unique aspects from the normative stakeholder perspective. The implications of this study suggest that while some aspects of globally institutionalized CSR are generically accepted, there are contextually specific aspects which need to be considered as these may contradict or conflict with the “global” standards. (shrink)

'What exactly is knowledge?' The Theaetetus is a seminal text in the philosophy of knowledge, and is acknowledged as one of Plato's finest works. Cast as a conversation between Socrates and a clever but modest student, Theaetetus, it explores one of the key issues in philosophy: what is knowledge? Though no definite answer is reached, the discussion is penetrating and wide-ranging, covering the claims of perception to be knowledge, the theory that all is in motion, and the perennially tempting (...) idea that knowledge and truth are relative to different individuals or states. The inquirers go on to explore the connection between knowledge and true judgement, and the famous threefold definition of knowledge as justified true belief. Packed with subtle arguments, the dialogue is also a work of literary genius, with an unforgettable portrait of Socrates as a midwife of wisdom. This new edition uses the acclaimed translation by John McDowell. It includes a valuable introduction that locates the work in Plato's oeuvre, and explains some of the competing interpretations of its overall meaning. The notes elucidate Plato's arguments and draw connections within the work and with other philosophical discussions. 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)

Plato's Republic, one of the great works in the history of philosophy, is presented here as it was written - as a dramatic performance exploring various perspectives on justice, truth, knowledge, and the good. Plato wrote each book of The Republic to be performed by actors playing the characters of Socrates, Glaucon, Adeimantus, Thrasymachus, and the others. When Book One was performed, he then invited his students—the brightest and best young people in Athens—to respond to each (...) and every argument, issue, and question posed by the characters. Rather than passively listening, they were lured into the process and challenged to evaluate and improve on the ideas presented in the performance. Based on their responses, Plato then wrote Book Two. The same process was repeated, and Book Three was generated. In this way all ten books evolved as part of a dynamic and creative dialectic intended to take place in the souls of each and every participant—including Plato himself. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

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

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

How were the Greeks of the sixth century BC able to invent philosophy and tragedy? In this book Richard Seaford argues that a large part of the answer can be found in another momentous development, the invention and rapid spread of coinage which produced the first ever thoroughly monetised society. By transforming social relations, monetisation contributed to the ideas of the universe as an impersonal system and of the individual alienated from his own kin and from the gods. Seaford (...) argues that an important precondition for this monetisation was the Greek practice of animal sacrifice, as represented in Homeric Epic, which describes a premonetary world on the point of producing money. This book combines social history, economic anthropology, numismatics and the close reading of literary, inscriptional, and philosophical texts. Questioning the origins and shaping force of Greek philosophy, this is a major book with wide appeal. (shrink)

This volume contains new translations of two dialogues of Plato, the Protagoras and the Meno, together with explanatory notes and substantial interpretive essays. Robert C. Bartlett's translations are as literal as is compatible with sound English style and take into account important textual variations. Because the interpretive essays both sketch the general outlines of the dialogues and take up specific theoretical or philosophic difficulties, they will be of interest not only to those reading the dialogues for the first time (...) but also to those already familiar with them. The Protagoras and the Meno are linked by the attention each pays to the idea of virtue: the latter dialogue focuses on the fundamental Socratic question, "What is virtue?"; the former on the specific virtue of courage, especially in its relation to wisdom. An appendix contains a short extract from Xenophon's Anabasis of Cyrus that vividly portrays the figure of Meno. (shrink)

The idea of heroism has become thoroughly muddled today. In contemporary society, any behavior that seems distinctly difficult or unusually impressive is classified as heroic: everyone from firefighters to foster fathers to freedom fighters are our heroes. But what motivates these people to act heroically and what prevents other people from being heroes? In our culture today, what makes one sort of hero appear more heroic than another sort? In order to answer these questions, Ari Kohen turns to classical conceptions (...) of the hero to explain the confusion and to highlight the ways in which distinct heroic categories can be useful at different times. Untangling Heroism argues for the existence of three categories of heroism that can be traced back to the earliest Western literature – the epic poetry of Homer and the dialogues of Plato – and that are complex enough to resonate with us and assist us in thinking about heroism today. Kohen carefully examines the Homeric heroes Achilles and Odysseus and Plato's Socrates, and then compares the three to each other. He makes clear how and why it is that the other-regarding hero, Socrates, supplanted the battlefield hero, Achilles, and the suffering hero, Odysseus. Finally, he explores in detail four cases of contemporary heroism that highlight Plato's success. Kohen states that in a post-Socratic world, we have chosen to place a premium on heroes who make other-regarding choices over self-interested ones. He argues that when humans face the fact of their mortality, they are able to think most clearly about the sort of life they want to have lived, and only in doing that does heroic action become a possibility. Kohen's careful analysis and rethinking of the heroism concept will be relevant to scholars across the disciplines of political science, philosophy, literature, and classics. (shrink)

In Plato's Ion & Meno, Socrates questions Ion, an actor who just won a major prize, about his ability to interpret the epic poetry of Homer. As the dialogue proceeds, the nature of human creativity emerges as a mysterious process and an unsolved puzzle. A similar discussion between Socrates and Meno probes the subject of ethics. Can goodness be taught? If it can, then we should be able to find teachers capable of instructing others about what is good and (...) bad, right and wrong, or just and unjust. Socrates and Meno are unable to identify teachers of ethics, and we are left wondering how such knowledge could be acquired. The text is presented in an updated version of the Jowett translation, which helps to bring the work to life for students and non-academic audiences. (shrink)

Plato's Republic, one of the great works in the history of philosophy, is presented here as it was written - as a dramatic performance exploring various perspectives on justice, truth, knowledge, and the good. Plato wrote each book of The Republic to be performed by actors playing the characters of Socrates, Glaucon, Adeimantus, Thrasymachus, and the others. When Book One was performed, he then invited his students—the brightest and best young people in Athens—to respond to each (...) and every argument, issue, and question posed by the characters. Rather than passively listening, they were lured into the process and challenged to evaluate and improve on the ideas presented in the performance. Based on their responses, Plato then wrote Book Two. The same process was repeated, and Book Three was generated. In this way all ten books evolved as part of a dynamic and creative dialectic intended to take place in the souls of each and every participant—including Plato himself. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Christopher Gill PLATO'S ATLANTIS STORY AND THE BIRTH OF FICTION There is a sense in which Plato's Atlantis story is the earliest example of narrative fiction in Greek literature; which is also to say it is the earliest example in Western literature. This may seem a surprising claim. Plato's story is introduced in the Timaeus as the record of a factual event and as one which (...) is "absolutely true." If the story is conceded, nonetheless, to be an invention, one might suppose that earlier works of literature, such as Homer's epics, have an equal claim to be considered fictional. On the other hand, it might be objected that the genre of narrative fiction (what we call the romance or novel) did not emerge in Greece until considerably later, in or around the first century B.C. A better understanding both of fiction and of the Atlantis story will, however, show my claim to be justified. If we describe a narrative as a fiction, we usually mean that it is an account of events which did not actually take place as they are described but which have been invented by the author. This, however, does not distinguish between falsehood and fiction. And, indeed, fiction is distinguishable from falsehood only by the presumptions of author and audience: the author of fiction does not intend to deceive (nor is the audience generally deceived) about the status of the narrative. It is also true (though in a different sense) that it is the presumptions of author and audience that distinguish fictional from factual accounts. For a fictional narrative in the past tense is not formally distinguishable from a narrative of past factual events; and it is only certain conventional and extrinsic signals (like the title of a book) which denote the class of the narrative. Moreover, an audience follows a fictional narrative with much the same kind of mental attention and emotional involvement as it does a factual narrative: fictional events may seem, in a sense, as real as, or more real than, factual events. Yet, at some level, the audience is aware that the fictional events are not real in the ordinary sense of the word but invented by the author; this awareness underlies 64 Christopher Gill65 and characterizes the kind of attention, and involvement, elicited by fictional narrative. Fiction, one may say, is a kind of game, in which both participants share in a willed pretense, treating what is unreal as real, and what is invented as actual. The rules of the game of fiction are not intuitively obvious, but presuppose a degree of cultural sophistication in a society or individual: in particular, the capacity to draw a clear distinction between fact and fiction. This capacity cannot be reasonably attributed to the composers of Homeric epic, nor can the poems (which are a chemical fusion of legends about the past and creative invention) accurately be classified by either term. The genre of deliberately fictional narrative (that is, the romance) did not emerge until historiography, factual recording of the past, was an established technique. Indeed, the romance seems to have grown up as an imitation of history, in which the author played the game of recounting a sequence of past events. Xenophon's Education of Cyrus (c. 360 b.c.), the first self-consciously semi-fictional history, served as a suggestive prototype for later, more completely fictional narratives. It is perhaps not accidental that Thucydides' attempt in the fifth century to lay down criteria for wholly factual historiography (with none of the romantic elaborations of the Homeric epics, 1.3, 1.10, 1.22) was succeeded in the fourth century by the first philosophical accounts ofthe truth-status of literature; Aristotle, in fact, defines literary truth through a contrast with historical truth (Poetics, 9). The clearer delineation of fact promoted the desire to define fiction (or, at least, literary invention), as well as creating the preconditions for the self-conscious production of fiction. Plato may seem to be an enemy rather than an analyst of literature; and his discussions undeniably have a polemical tone. But, closely examined, his treatment of literature in the Republic, and of the kinds of... (shrink)

The Phaedo is acknowledged to be one of Plato's greatest masterpieces, showing him both as a philosopher and as a dramatist at the height of his powers. For its moving account of the execution of Socrates, the Phaedo ranks among the supreme literary achievements of antiquity. It is also a seminal document for many ideas deeply ingrained in western culture, and provides one of the best introductions to Plato's thought. This new edition is a revised version of the (...) Clarendon Press translation, and is eminently suitable for readers new to Plato, and ideal for classroom use, thanks to the provision of Stephanus page and letter numbering. 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 Phaedo is acknowledged to be one of Plato's greatest masterpieces, showing him both as a philosopher and as a dramatist at the height of his powers. For its moving account of the execution of Socrates, the Phaedo ranks among the supreme literary achievements of antiquity. It is also a seminal document for many ideas deeply ingrained in western culture, and provides one of the best introductions to Plato's thought. This new edition is a revised version of the (...) Clarendon Press translation, and is eminently suitable for readers new to Plato, and ideal for classroom use, thanks to the provision of Stephanus page and letter numbering. 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 dramatic nature of Plato’s dialogues is delightfully evident in the Symposium. The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love—from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as (...) class='Hi'>Plato concludes with one of his most skillful displays of dialectic. (shrink)

This remarkable book presents a rich and up-to-date view of evolution that explores the far-reaching implications of Darwin's theory and emphasizes the power, significance, and relevance of evolution to our lives today. After all, we ourselves are the product of evolution, and we can tackle many of our gravest challenges -- from lethal resurgence of antiobiotic-resistant diseases to the wave of extinctions that looms before us -- with a sound understanding of the science.

The structures of history -- Early history -- The epic of history -- The homer galaxy -- The logos of history -- Memory and history -- The genealogy of history.

The detrimental effect of the public recital on the quality of epic production in the first century is a stock theme both in ancient and in modern literary criticism. While previous studies on the epic recital emphasize its negative effects, or aim at its reconstruction as social reality, I focus on its conflicting representations by the ancients themselves and the lessons that we can learn from them. The voices of critics and defenders reveal anxieties about who controls the prestigious high (...) genre of epic and about the construction of gender and social status through epic's public performance. Critics of the recitatio such as Horace, Persius, Petronius and Juvenal represent it as an informal and popular event that panders to public taste and incurs infamy. These critics charge that the epic recital has an effeminizing effect both on the recitator and on his audience, a charge traditionally advanced against orators and actors. Because the epic recital in Rome lacks a performative context similar to the rhapsodic performances in Greece, its public image mirrors that of other public performances . The main point of divergence is the presence of the book, the symbol of permanent fame, which casts upon the recital the shadow of an evanescent entertainment. Defenders see the recital as instrumental to the maintenance of literature's value in society. This means that well into the first century there were those who felt nostalgia for the epic recital as a bulwark of male aristocratic values and who wanted to reclaim its prestige. Both Statius as a poet, who performed regularly at Domitian's court, and Suetonius, who acted as Hadrian's ab epistulis some twenty years after Statius' death, defend the waning reputation of the contemporary epic recital in an effort to reclaim it as a prestigious component of imperial literary culture. While critics unanimously negate the recital's role in the achievement of poetic fame in favor of the book, Suetonius chooses anecdotal evidence about the early performances by grammarians grammarians that show the important role of the recital in forging poetic fame. The emperor and the members of the new aristocracy whom Statius explicitly names as the target audience of his epic recitals have a stake in reclaiming for imperial culture an institution that went back to the second century B.C.E. and carried the prestige of an aristocratic event. (shrink)

Republic, Plato's best known and most frequently read dialogue, although receiving a flood of translations and philosophical analysis over the last 100 years, has in recent times been quite short of detailed commentaries. In particular, a full edition of the introductory sections of the dialogue, representing, probably, a single papyrus roll in the original text, has not been attempted for more than fifty years. In that period scholarship has moved on, and this edition aims to take into account recent (...) developments in the study of Plato's literary style as well as of his ideas. The arguments have always been of great interest to philosophers, especially the sophist Thrasymachus' clash with Socrates in defending injustice as the most profitable life-choice. But there is a great deal more to this introduction than abstract ideas; Plato chooses to begin his great work by staging a dramatic debate, arising out of a social meeting between Socrates and friends in the Athenian port of the Piraeus during a religious festival. The case against justice as a state of affairs leading to eudaimonia is put with great force and humour, not to mention bad temper, and in the cut-and-thrust of argument and the clash of personalities, Plato brings vividly to life the cultural and social world of his times and the crucial issues at stake for his contemporaries. He also puts as effectively as possible the adversarial case which Socrates has to answer in the rest of Republic. This edition is aimed principally at readers without Greek; however, following the main purpose of the Series, a spectrum of needs is catered for, ranging from those studying through the original text to those working with the translation. Greek text with facing-page translation, introduction and commentary. (shrink)

This study aims to examine how becoming like God is handled in Avicenna’s philosophy. Basically the article is based on the need to interpret that Plato and Aristotle and Plotinus are philosophers that complement each other, not diverge, in terms of the topic of becoming like God. First and foremost I present Avicenna’s arguments using the concepts of becoming like god and becoming like the First as a springboard. Moreover, based on the context in which Avicenna uses the concept (...) of manifestation, I examine how the idea of unification with God is transformed into an intellectual ideal. In the last section, I present the connection between the journey of becoming a perfected human and becoming like god which was established in the Metaphysics volume of The Book of Healing as a section of the matter which is related to ethics. (shrink)