Mouthpiece interpreters of Plato such as Richard Kraut and Julia Annas believe that Plato had philosophical beliefs, doctrines, and theories that he intended to convey in his dialogues. We argue that some of their primary arguments for this approach to Plato are problematic and that there is a more promising approach to Plato’s dialogues than the mouthpiece interpretation, all things considered.

Mouthpiece interpreters of Plato such as Richard Kraut and Julia Annas believe that Plato had philosophical beliefs, doctrines, and theories that he intended to convey in his dialogues. We argue that some of their primary arguments for this approach to Plato are problematic and that there is a more promising approach to Plato’s dialogues than the mouthpiece interpretation, all things considered.

This long-awaited study of the most enigmatic figure of Greek philosophy reclaims Socrates' ground-breaking originality. Written by a leading historian of Greek thought, it argues for a Socrates who, though long overshadowed by his successors Plato and Aristotle, marked the true turning point in Greek philosophy, religion and ethics. The quest for the historical figure focuses on the Socrates of Plato's earlier dialogues, setting him in sharp contrast to that other Socrates of later dialogues, where he is used as a (...) mouthpiece for Plato's often anti-Socratic doctrine. At the heart of the book is the paradoxical nature of Socratic thought. But the paradoxes are explained, not explained away. The book highlights the tensions in the Socratic search for the answer to the question 'How should we live?' Conceived as a divine mandate, the search is carried out through elenctic argument, and dominated by an uncompromising rationalism. The magnetic quality of Socrates' personality is allowed to emerge throughout the book. Clearly and forcefully written, philosophically sophisticated but entirely accessible to non-specialists, this book will be of major importance and interest to all those studying ancient philosophy and the history of Western thought. (shrink)

In Part 1, I contend (using Coriolanus as my mouthpiece) that Keeley and Clarke have failed to show that there is anything intellectually suspect about conspiracy theories per se. Conspiracy theorists need not commit the ‘fundamental attribution error’ there is no reason to suppose that all or most conspiracy theories constitute the cores of degenerating research programs, nor does situationism - a dubious doctrine in itself - lend any support to a systematic skepticism about conspiracy theories. In Part 2. (...) I argue (in propria persona) that the idea that there is something suspect about conspiracy theories is one of the most dangerous and idiotic superstitions to disgrace our political culture. (shrink)

Interpretation -- Introduction -- Interpreting Plato -- The political culture of Plato's early dialogues -- Dialogue -- Character and history -- The mouthpiece principle -- Forms of evidence -- Desire -- Socrates and eros -- The subjectivist conception of desire -- Instrumental and terminal desire -- Rational and irrational desires -- Desire in the critique of Akrasia -- Interpreting Lysis -- The deficiency conception of desire -- Inauthentic friendship -- Platonic desire -- Antiphilosophical desires -- Knowledge -- Excellence as (...) wisdom -- The epistemic unity of excellence -- Dunamis and technê -- Goodness and form -- The epistemological priority of definitional knowledge -- Ordinary ethical knowledge -- Method -- The Socratic fallacy -- Socrates' pursuit of definitions -- Hupothesis -- Two postulates -- The geometrical illustration -- Geometrical analysis -- The method of reasoning from a postulate -- Elenchus and hupothesis -- Knowledge and aitia -- F-conditions -- Cognitive security -- Aporia -- Forms of aporia -- Dramatic aporia -- The example of Charmides -- Charmides as autobiography -- The politics of Sôphrosunê -- Critias' Philotimia -- Self-knowledge and the knowledge of knowledge -- Knowledge of knowledge and knowledge of the good -- Philosophy and the polis. (shrink)

In this international and interdisciplinary collection of critical essays, distinguished contributors examine a crucial premise of traditional readings of Plato's dialogues: that Plato's own doctrines and arguments can be read off the statements made in the dialogues by Socrates and other leading characters. The authors argue in general and with reference to specific dialogues, that no character should be taken to be Plato's mouthpiece. This is essential reading for students and scholars of Plato.

Locke is famed for his caution in speculative matters: “Men, extending their enquiries beyond their capacities and letting their thoughts wander into those depths where they can find no sure footing; ‘tis no wonder that they raise questions and multiply disputes”. And he is skeptical about the pretensions of natural philosophy, which he says is “not capable of being made a science”. And yet Locke is confident that “Our reason leads us to the knowledge of this certain and evident truth, (...) that there is an eternal, most powerful and most knowing being; which whether anyone will please to call God it matters not”. His certainty about the existence and attributes of God, I will argue, led him to surprisingly strong convictions about a deep and disputed problem at the intersection of seventeenth century metaphysics and natural philosophy: the absolute reality of space and time. Specifically, he based his absolutist conceptions of space and time on God’s literal omnipresence and eternity. Leibniz probably had Locke in mind when he inveighed in 1716 against “real absolute space, the idol of some modern Englishmen”. And Leibniz was right a decade earlier to voice through his mouthpiece Theophilus the suspicion that, despite Locke’s claim to know nothing about the substance of void space, “there are grounds for thinking you know more about it than you say or believe that you do. Some people have thought that God is the place of objects”. (shrink)

For Augustin Thierry, rewriting the story of the past was, until 1830, explicitly a way of making the future, and after 1830, implicitly a way of justifying the present. In subverting traditional historiography perceived as a legitimation of royal authority Thierry did not follow the Enlightenment strategy of opposing history and reason. Writing after 1789, he discovered reason in history. Constant and the Saint-Simonians had already distinguished two ages of history an age of conquest or violence, and an age, just (...) beginning, of commerce and reason but these appeared as discontinuous. Thierry's aim, especially after 1830, was to reveal history as a continuous, providential unfolding of reason, culminating in the bourgeois nation state. The violence of history was thus to be subsumed by reason. Historiographically, narrative and commentary were not to be discontinuous, as in Enlightenment historiography; meaning was to emerge instead from the narrative itself. Correspondingly, the historian's role was to be construed as a mediating, not a constructive one. The historian is the mouthpiece of history, as the bourgeois, the true hero of history, uniting in himself conquered and conqueror, re-presents what in history was divided the nation. In neither case is control to be viewed as a mark of division or violence; historian and hero are alike agents or representatives of totality . Violence reasserts itself thematically, however, in the stark, unresolved opposition of conquered and conqueror, subject and lord, female and male, victim and executioner, which structures Thierry's most successful historical narratives. (shrink)

This book is a rereading of Plato's early dialogues from the point of view of the characters with whom Socrates engages in debate. Socrates' interlocutors are generally acknowledged to play important dialectical and dramatic roles, but no previous book has focused mainly on them. Existing studies are thoroughly dismissive of the interlocutors and reduce them to the status of mere mouthpieces for views which are hopelessly confused or demonstrably false. This book takes interlocutors seriously and treats them as genuine intellectual (...) opponents whose views are often more defensible than commentators have standardly thought. The author's purpose is not to summarise their positions or the arguments of the dialogues in which they appear, much less to produce a series of biographical sketches, but to investigate the phenomenology of philosophical disputation as it manifests itself in the early dialogues. (shrink)

There is growing political pressure for farmers to use more sustainable agricultural practices to protect people and the planet. The farming press could encourage farmers to adopt sustainable practices through its ability to manipulate discourse and spread awareness by changing the salience of issues or framing topics in specific ways. We sought to understand how the UK farming press framed sustainable agricultural practices and how the salience of these practices changed over time. We combined a media content analysis of the (...) farming press alongside 60 qualitative interviews with farmers and agricultural advisors to understand whether the farming press influenced farmers to try more sustainable practices. Salience of sustainable agricultural practices grew between 2009 and 2020. Many of the practices studied were framed by the press around economic and agronomic aspects, and farmer respondents said the most common reasons for trying sustainable agricultural practices were for economic and agronomic reasons. The farming press tended to use more positive rather than negative tones when covering sustainable agricultural practices. Respondents used the farming press as a source of information, though many did not fully trust these outlets as they believed the farming press were mouthpieces for agribusinesses. Whilst a minority of farmers stated they were motivated to try a new sustainable agricultural practice after learning about it in the farming press, this was rare. Instead, the farming press was used by respondents to raise their awareness about wider agricultural topics. We reflect on the role and power given to agribusinesses by the farming press and what this means for agricultural sustainability. (shrink)

This article examines the comic portrayal of Confucius in the Analects and the Zhuangzi, maintaining that there is a humorous aspect to the character of Confucius that is often overlooked. Conventional interpretations of the Analects downplay the pranks and mocking comments that are sprinkled throughout them. Many of the humorous words Confucius utters are directed at ritualistic behaviour which has become mechanistic, suggesting that in order to take ritual seriously, we must also be prepared to take it in jest. Furthermore, (...) Confucius’s situation is poked fun at in both the Analects and the Zhuangzi, since he wanders around desperately seeking a position of influence that eludes him. But while the Zhuangzi relentlessly mocks Confucius for his ritualized arrogance, it also signals his respect for him by making him the mouthpiece of the very Dao that it accuses him of straying from. (shrink)

On the strength of her 1666 pamphlet, Womens Speaking Justified, the Quaker writer Margaret Fell has been hailed as a feminist pioneer. In this short tract, Fell puts forward several arguments in favour of women's preaching. She asserts the spiritual equality of the sexes, she appeals to female exempla in the Bible, and she reinterprets key scriptural passages that appear to endorse women's subordination to men. Some scholars, however, have questioned Fell's status as a feminist thinker. They point to the (...) fact that, according to Fell and her fellow Quakers, women are permitted to speak in church—but only in so far as they are vessels or mouthpieces for Christ. In every other respect, it is argued, the early Quakers continue to either ignore, denigrate, or efface the female sex. Other critics point out that the Quakers' gender egalitarian principles operate in a rather limited sphere of activity—that of religious worship alone—and do not extend to the socio-political domain. Notwithstanding such criticisms, Fell's defence of women's preaching was undoubtedly influential in her time and may have inspired women writers beyond her religious circle. Foxton (1994) claims that Quaker women's writings more generally set an important precedent for women's publishing activities in the seventeenth century, on both religious and non-religious topics. -/- This entry covers Fell's life and works, and considers her ideas and arguments in the context of Quaker thought and practice, Quaker feminist thought, criticisms of Quaker defences of women, and Fell's place in the history of feminism. (shrink)

Max Hallman has put forward an interpretation of Nietzsche’s philosophy according to which Nietzsche is a prototypical deep ecologist. In reply, I dispute Hallman’s main interpretive claim as well as its ethical and exegetical corollaries. I hold that Nietzsche is not a “biospheric egalitarian,” but rather an aristocratically individualistic “high humanist.” A consistently naturalistic transcendentalist, Nietzsche does submit a critique of modernity’s Christian-inflected anthropocentrism (pace Hallman), and yet—in his later work—he endorses exploitation in the quest for nobility (contra Hallman). I (...) conclude thatecophilosophers need to exercise hermeneutical caution in any attempt to appropriate Nietzsche for environmentally ethical designs, lest they illegitimately ventriloquize their own moral voices into an authoritative but alien mouthpiece. (shrink)

It is simply no longer acceptable to speak of the goddess Athena from the fifth generation of Olympian/Orphic Greece without reference to her mother Metis. Hesiod, among others, tells us Metis appears as a reincarnation of her first-generation self in the Olympian dynasty as wife of Zeus. She was originally the cosmic egg of all creation in the Orphic Theogony, as recounted by Apollodorus, and Taylor, from whose mucosity, the entire genealogy of the Olympian/Orphic heaven, is spawned. However, from the (...) moment Zeus murdered Metis as she was about to give birth to Athena their daughter, she has lapsed into the fissures of forgetfulness in philosophy, theology, mythology and early psychoanalysis. Indeed, in each field of inquiry, Athena is overwhelmingly deemed ‘unmothered’ and produced as Harrison tells us as a desperate ploy ‘from the brain of Zeus’ through his cunning intellect, for Athena to serve as his ‘mouthpiece’. This paper seeks to do more than simply restore Metis as mother to Athena. It explores the tragedy inherited by her violent removal, for mother/daughter relations, grievability and sustained disavowal of maternal divinity in dominant discourse. (shrink)

‘Flute’, as Jenny Strauss Clay notes, is a mistranslation of αλς since the ancient Greek aulos consisted of ‘two reed mouthpieces and two pipes, sometimes of different lengths, played simultaneously. Its dual structure permitted antiphonal execution; one pipe could produce the melody, the other, some sort of accompaniment or perhaps a drone.’ She believes that the dual structure and dual sound of the aulos are implicit in the following passage in which Pindar describes Athena‘s invention of the art of playing (...) this instrument. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:207 THE CARELESS SKEPTIC THE 'PAMPHILIAN' IRONIES IN HUME'S DIALOGUES In "Hume and the Legacy of the Dialogues" E. C. Mossner sets out a widely accepted interpretation of one of Hume's major intentions in that great work. He argues that Hume's main use of irony therein is to dissimulate with respect to his true religious convictions. The purpose is to provide Hume with a defense against the expected negative (...) reaction to the powerful attack on religion mounted 2 in the Dialogues. The attack, as is well known, is set out in the arguments of Philo against natural and revealed religion as espoused by Cleanthes and Demea, and Philo's views are taken to be those of Hume. It is argued or assumed that since such attacks were in Hume's day imprudent, they must be made by indirection, that is, by a device such as irony. Thus the Dialogues have surface meanings in which the religious views under attack are said (by Pamphilus) to win out; they also have other meanings, underlying or implicit, in which the religious views are conclusively refuted. That they are refuted is a conclusion drawn by the interpreters, in the present case Mossner and those who share his views. These destructive refutations are derived from explication and assessment of the ongoing argument as embodied in the explicit statements of the contestants, and are thus not explicitly linked to Hume. In consequence, quite often from one standpoint (a trivial one of external comment by an immature and prejudiced onlooker) the design argument wins; and from another, more sophisticated one, it loses. The upshot is that "Philo, who as Hume's spokesman for mitigated 208 skepticism will perforce be the victor in the philosophic debate, will nevertheless be 'artfully' depicted as being vanquished by the antagonist." The strategy Mossner finds in the Dialogues thus has the youthful Pamphilus, a ward of Cleanthes, and one who takes no actual part in the adversarial discussions, interposing (in brief asides) comments that superficially but subtly belittle Philo's philosophical position. Philo is characterized, for instance, as having a "careless scepticism," in contrast with Cleanthes, who has an "accurate philosophical turn [of mind]" (D 128). Similarly, at the end of the Dialogues, Pamphilus awards the victory to Cleanthes. In support of his thesis that Philo is a devious Hume's mouthpiece, Mossner brings forth two kinds of evidence, roughly characterizable as external and internal. One kind of external evidence is exemplified in Hume's correspondence with Gilbert 4 5 Elliot of Minto, and Adam Smith; the letters involved are interpreted as showing that Philo represents Hume. Another kind involves comparing the amount of space devoted to the arguments of the three adversaries. The internal evidence is derived from the explication and appraisal of the explicit statements of the contestants; and it is essentially identified with the arguments and conclusions of Philo, except where Cleanthes can be said to make claims which square with those made by Hume in other works such as the Treatise. Thus Hume's views and the related arguments are interpreted as those of Philo, in part because they are considered to be more valid and sound than those of Cleanthes, and in part because they are held to square with the views and arguments affirmed in Hume's other writings. Hume's views, as indicated above, are taken to be those of 209 Philo except where Philo appears to agree with Cleanthes and to accept a form of the design argument. Hume is Cleanthes when Cleanthes sets forth doctrines of the Treatise and the Enquiry that are in accordance with the received (more or less) positivistic interpretation of Hume's skepticism. It is this view that requires that in those places in Parts III, X, and XII, where Philo appears to avow a form of the design argument or to let it stand unrefuted, he be (ironically) dissimulating. Thus the surface victories of Cleanthes and natural religion, which the adversarial flow of the statements of Philo and Cleanthes exhibits, are refuted by the propositions derived from the assessed form and content of the philosophical debate. The basic irony, therefore, lies in aspects of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Overtones:A CollagePaul Youngquist (bio)Mom leans against the keyboard of the old upright piano in the den. She puckers her lips and gently fingers the valves. A couple of times a month, she frees her trumpet from the purple velveteen lining its case—out of love or frustration I can never tell. She stares hard at the bell, pointed somewhere near my feet. She inhales deeply, pressing the silver mouthpiece (...) to her crumpled lips. A silent moment passes—torn by a noise pitched past the sun, a shrieking flare sound. Another follows and another, bright glissandos blinking out somewhere below middle C. They shatter everything I know about her. Everything I thought I knew. What sound was that, what cry? What aspiration to be free? After those initial stabs, she falls into familiar melodies: "Bugler's Holiday" by Leroy Anderson, maybe, or "When the Saints Go Marching In." I'm unsettled for the rest of the day.Trumpeter Don Cherry's sound unsettled me too. I was much older when I first encountered it on Ornette Coleman's The Shape of Jazz to Come. It took me back to Mom's cries. I heard her sound in his: bright, high, and transient: less pitch than smudge, transmitting unknowable overtones. On "Lonely Woman," for instance. Cherry states the plaintive melody in hazy unison with Coleman, blurs the third note, wavers and plays his peculiar temper, untimely and free to move beyond the platitudes of harmony until, after Coleman's baffled cry, he parts company to play a sixth above (if such language matters, and it doesn't), descending in half steps to resolve (not happily) on a minor third, Cherry now pitched below. Their unison breaks apart to reconverge, and the brief bridge feels like a heaving between sobs. This isn't music. It's too raw for the repartee of bebop or the sociability of swing. But everybody can feel it, which explains the scandal of Coleman and company's extended appearance in late 1959 at the Five Spot in New York's East Village. Writing in the New York Times Magazine years later, Joseph Hooper likened it to the furor erupting after Stravinsky's Paris premier of "The Rite of Spring" in 1913. In an interview with Terry Gross, Cherry remembers everyone who was musically anyone being there—from Leonard Bernstein to Thelonious Monk—to witness the sacrilege. The implacable trickster Charles Mingus appeared one [End Page 133] night with Phineas Newborn, a keyboard virtuoso famous for his perfect pitch. Newborn sat and stared at his cufflinks. He never played a note. After the set, Mingus barreled onto the stage and, with his long arms and big hands, crashed all the keys. "That's where it is," he bellowed. "It's all there." Everywhere and nowhere. Cherry and Ornette decentered intonation. They distempered tradition's scales. Afflicted with perfect pitch, Newborn couldn't follow their cries and whispers. They flew free from the comforting staff. Still you feel them, hear their immeasurable sound.Don Cherry: "I've always been on the outside, and that's a good quality for the music to have, like the wind in your face."Cherry's mother Daisy gave him his first horn when he was fourteen. It breathed life into him, offering a way to express sounds his body harbored. Born in Oklahoma City in 1936 to "Negro-Choctaw Indian parents" (his words—his mother's mother was half native), Cherry heard gospel, blues, and Indian songs from the start. The family's move to the Watts neighborhood of Los Angeles in 1940 only multiplied the sounds of diverse ethnicities mixed with the rumble of jazz from the Cherry Blossom, his father's club, where Don and his sister sometimes danced for dimes. His horn funneled all this sound—all the music he'd ever make—through a peculiarly powerful feeling: "that feeling to me, through as much music as I've learned, I still remember just that feeling when I first got that horn." What feeling exactly? "Infant happiness" (in-fant, not speaking). The feeling of life before language: "infant happiness, infant happiness, beautiful! That's what music is really... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Women on the Global Market: Irigaray and the Democratic StateNicole Fermon (bio)Best known for her subtle interrogation of philosophy and psychoanalysis, Luce Irigaray clearly also conducts a dialogue with the political, proposing that women’s erasure from culture and society invalidates all economies, sexual or political. Because woman has disappeared both figuratively and literally from society [see Sen, “More Than 100 Million Women Are Missing”], Irigaray conceives the contemporary ethical (...) project as a recall to difference rather than equality, to difference between women and men—that is, sexual difference. She characterizes relations between men and women as market relations in which women are commodities, objects, but never subjects of exchange, objects to men but not to themselves: women do not belong to themselves but exist “to keep relationships among men running smoothly” [TS 192]. Women under these conditions require imaginative ways to reconfigure the self, to subvert the melancholy and regression of masculinist economies and envisage a future in which women would not be ashamed of the feminine, would experience it as a positivity worth emulating.Irigaray contends that after the gains of egalitarian politics are carefully examined, the inclusion of women in the political arena has failed to take into account women’s distinct and different position from men, and from each other, as well as perpetuating the fiction of the “neutral” citizen, the ahistorical individual citizen of the nation-state. It is that fiction Irigaray dispels in her critique of liberal democratic politics and its creation, “citizens who are neuter in regard to familial singularity, its laws, and necessary sexual difference” [SG 112] in order to benefit the State and its laws. The subject is male; the citizen is neuter. Who is the female citizen in contemporary society? What is the ethical elaboration of the contractual relations between women and men, and between sexed individuals and the community? How do women imagine a distinct set of rights and responsibilities based on self-definition and autonomy, given the particular strictures of contemporary politics—that is, the market-driven, antidemocratic nature of the current economic national and global forces? Irigaray suggests that “the return of women to collective work, to public places, to social relations, demands linguistic mutations” and profound transformations, an embodied imagination with force and agency in civil life [TD 65].Irigaray warns that if civil and political participation is construed in overly narrow terms, if focus is on economic or judicial “circuits” alone, we overlook the symbolic organization of power—women risk losing “everything without even being acknowledged” [TD 56]. Instead an interval of recognition can expand the political to include the concerns and activities of real women, lest silence imply consent to sexual neutrality, or more likely, to women’s obliteration under men’s interests and concerns. Women’s insistence on self-definition and wage labor, on love and justly remunerated work, [End Page 120] testifies to the obduracy of women’s difference, one that is not likely to disappear. The patriarchal family is still the legal norm, even when certain exceptions are made, while enduring questions regarding women’s health and children’s physical welfare as priorities beyond market considerations are consigned to legislative obfuscation, still a political afterthought. Instead, in the US the liberal state removes the slender welfare net specific to women and children, Aid to Families with Dependent Children, and fails to provide medical coverage to those who are among the most vulnerable of its citizens. Women without access to the legal protection of sex-neutral citizenship, poor working women without language (the money for an effective “mouthpiece” to represent their distress in a court of law), are further disempowered by liberal politics’ insistence on sexual neutrality—that is, on repression or amnesia regarding the lived experiences of women.Sexual difference is key to any project of self-definition by women. Irigaray insists on the sexual nature of this self-definition, not solely for its obvious procreative necessity, but because the natural world is a source of renewal and fecundity which requires attentive interrogation and respect [SG 15]. This rebirth seems alien to the structure of male politics, which instead seem to provoke disasters (Bhopal, Chernobyl, or the current runaway... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.3 (2002) 371-397 [Access article in PDF] How the "New Science" of Cannons Shook up the Aristotelian Cosmos Mary J. Henninger-Voss [Figures]Approximately halfway through the "Second Day" of Galileo's Dialogue Concerning the Two Chief World Systems Galileo's mouthpiece, the mathematician Salviati, scoffs at his Aristotelian colleague Simplicio: "I see that you have hitherto been of that herd who, in order to learn (...) how matters such as this [motion] take place, and in order to acquire a knowledge of natural effects, do not betake themselves to ships or crossbows or cannons, but retire to their studies... to see whether Aristotle has said anything about them."1 Silly, simple Simplicio! He has been searching for natural philosophical wisdom in the books of natural philosophers rather than in the world of docks and arsenals. Indeed this quotation appears near the outset of Day Two wherein Salviati offers cannonshot as proof for the opposing Aristotelian position that the experience of projectiles proves the motionless state of the earth. Obviously, if the earth rotates toward the east, cannonballs shot point-blank to the west ought to travel much further than to the east. And clearly this is not so. Simplicio agrees that the new arguments offered by the cannon are excellent, "and now I see with how many elegant experiments nature graciously wishes to aid us in coming to the recognition of the truth," Simplicio enthusiastically enjoins. "What a shame there were no cannons in Aristotle's time!" exclaims the third interlocutor, Sagredo. "With them he would indeed have battered down ignorance, and spoken without [End Page 371] [Begin Page 373] the least hesitation concerning the universe."2 The irony here is not only that Aristotle might have used cannons in order to explain the workings of the universe but also that Galileo does so in the following pages. His demonstrations with reference to artillery demolish the Aristotelian position, but he has had Simplicio open the door for him by recognizing this most violent of artifices as an elegant experiment provided by nature.3The cannon provides a primary referent for Galileo's new mathematical physics of motion from his very first dialogue to his very last. The early De Motu culminated in a series of questions about the shot of cannons, while the conversation in his final masterwork, Discourses Concerning Two New Sciences, was set in the Venetian arsenal, and to it Galileo appended a table of the parabolic paths that could be expected from cannons shot at various elevations.4 In some sense Galileo turned inside-out a much older problem, one that had haunted military engineers of sixteenth-century Italy—and Galileo had been trained, and trained others, in military engineering.5 State organizers of war and captain generals were less interested in the implications the arts of fortifications and artillery held for the existing science of natural motion than in the necessity to reduce to a science, that is, a coherent body of knowledge, the rules for manufacturing cannons, planting artillery battery, aiming guns, and fortifying camps, cities, and castles.What Galileo gives us is recognizable as early physics, as a sophisticated mechanical science, a neat triumph of mathematical method in natural philosophy. But the ways and means by which mathematics came together with natural philosophy to address problems of both technology and nature are by no means neat. My claim is that attention to the military sphere will help us sort out some of those ways and means. The curious thing about the historiography on the relationship between early modern science and warfare is that the fact of a connection seems to have been taken for granted, while the implications have seldom been investigated.6 This essay is an attempt to trace those implications by [End Page 373] looking at a mathematician who specifically tried to reduce to a mathematical science the military arts, Niccolò Tartaglia.7 Tartaglia's story shows how the minutia of Aristotelian philosophy was transmuted in early attempts to understand cannonshot... (shrink)

Many critics have condemned, some have defended, Euripides for composing a play ‘altogether wanting in the satisfaction which nothing but a unity of ideas could produce.’ It helps us little to marvel, with Paley, at the ‘obtuseness of critics who forsooth prefer “unity of ideas” to profoundly moving incidents, etc.,’ though it may be admitted that Paley has detected part of the truth when he calls attention to the importance of the fact that Athens is, throughout the play, the only (...) possible asylum for the hero. Verrall's analysis has the merit that it attempts to account for the play as a whole, but it is hard to believe that the Athenian audience was composed of subtle critics, endowed with Verrall's ingenuity and acumen. Still, though it is easy to disagree with Verrall, it is less easy to give the reasons for one's disagreement. In detail one can say: ‘The straightforward and obvious sense of the words is adequate; the subtle suggestion is not likely to have occurred to an audience which had never heard of Schlegel or of Swinburne.’ That leaves us with the fact that the impression made on most of us by the whole work is not one of formal perfection. To most readers there seem to be three episodes, each excellent, but not intimately connected with the other two: in the first we are concerned for the fate of the tyrant Lycus, and rejoice at his just destruction; in the second we are moved by the sudden reversal in the fortunes of the beneficent Heracles; and in the third we are impressed by the magnanimity, and, perhaps, delighted with the Athenian connections, of the excellent Theseus. There is a good deal of talk which we ascribe to the tendency of Euripides to make his characters the mouthpieces for current debate. There are choral odes which we think charming, but, on the whole and as a rule, slightly irrelevant to the main ‘incidents.’ My purpose in this paper is to suggest, first, that the audience was occupied with certain quite familiar ideas upon which Euripides has built his play, and was, therefore, not at leisure to catch at subtleties of detail, suggestions, ambiguities, ironies, points of logic and of lack of logic, such as Verrall emphasizes; and, secondly, that if we also remember these ideas, we shall find both unity in the construction and relevance in the choral odes. (shrink)

My title is deliberately provocative, since I want to challenge both the chronology and the philosophical interpretation generally accepted for the dialogues called Socratic. I am not primarily interested in questions of chronology, or even in Plato's intellectual ‘development’. But the chronological issues are clear-cut, and it will be convenient to deal with them first. My aim in doing so will be to get at more interesting questions concerning philosophical content and literary design. Interpreters should perhaps think more often about (...) such questions as: Why did Plato write dialogues after all? Why does a little dialogue like the Laches have such a stellar cast, with so many major figures from Athenian history? Why does Plato re-create the schoolboy atmosphere of the Charmides and Lysis? Why does he compose such a large and vivid fencing-match between Socrates and the long-dead Protagoras, in a conversation supposed to have taken place before Plato himself was born? The view which I wish to challenge tends to assume that Plato's motivation in such dialogues was primarily historical: to preserve and defend the memory of Socrates by representing him as faithfully as possible. From this it would seem to follow that the philosophic content of these dialogues must be Socrates' own philosophy, which Plato has piously preserved somewhat in the way that Arrian has preserved the teachings of Epictetus. The counterpart assumption tends to be that when Plato ceases to write as an historian he writes like any other philosopher: using Socrates as a mouthpiece to express whatever philosophical doctrines Plato himself holds at the time of writing. (shrink)

Introduction : approaching Plato's dialogues -- The mouthpiece interpretation -- The anti-mouthpiece interpretation -- A Socratic interpretation of the concept of art as mimesis -- Conclusion : appreciating Plato's dialogues.

My title is deliberately provocative, since I want to challenge both the chronology and the philosophical interpretation generally accepted for the dialogues called Socratic. I am not primarily interested in questions of chronology, or even in Plato's intellectual ‘development’. But the chronological issues are clear-cut, and it will be convenient to deal with them first. My aim in doing so will be to get at more interesting questions concerning philosophical content and literary design. Interpreters should perhaps think more often about (...) such questions as: Why did Plato write dialogues after all? Why does a little dialogue like the Laches have such a stellar cast, with so many major figures from Athenian history? Why does Plato re-create the schoolboy atmosphere of the Charmides and Lysis? Why does he compose such a large and vivid fencing-match between Socrates and the long-dead Protagoras, in a conversation supposed to have taken place before Plato himself was born? The view which I wish to challenge tends to assume that Plato's motivation in such dialogues was primarily historical: to preserve and defend the memory of Socrates by representing him as faithfully as possible. From this it would seem to follow that the philosophic content of these dialogues must be Socrates' own philosophy, which Plato has piously preserved somewhat in the way that Arrian has preserved the teachings of Epictetus. The counterpart assumption tends to be that when Plato ceases to write as an historian he writes like any other philosopher: using Socrates as a mouthpiece to express whatever philosophical doctrines Plato himself holds at the time of writing. (shrink)

I argue that the main theme of the Zhuangzi is that of spiritual transformation. If there is no such theme in the Zhuangzi, it becomes an obscure text with relativistic viewpoints contradicting statements and stories designed to lead the reader to a state of spiritual transformation. I propose to reveal the coherence of the deep structure of the text by clearly dividing relativistic statements designed to break down fixed viewpoints from statements, anecdotes, paradoxes and metaphors designed to lead the reader (...) to a state of spiritual transformation. Without such an analysis, its profound stories such as the butterfly dream and the Great Sage dream will blatantly contradict each other and leave us bereft of the wisdom they presage. Unlike the great works of poetic and philosophic wisdom such as the Dao de Jing and the Symposium, the Zhuangzi will be reduced to a virtually unintelligible, lengthy, disjointed literary ditty, a potpourri of paradoxical puzzles, puns and parables, obscure philosophical conundrums, monstrous interlocutors and historical personages used as mouthpieces authoritatively arguing on behalf of viewpoints humorously opposite to what they historically held. (shrink)

The Concept of Hierarchy, as well as various problems, aspects and doctrines attaching to it, was preposterously overrated in Greek philosophy, especially Platonic and Neo-platonic; probably even more so in medieval Scholastic philosophy which attempted to rationalize its supernaturalistic obsession with arguments taken from Greek, chiefly Aristotelian and thus semi-Platonic perfectionalism as a putative “natural” basis for it. Some great exponents of the modern German philosophy of Value, Scheler and Nicolai Hartmann, represent the same tradition in a doubtless more critical (...) and more properly philosophic, less naively metaphysical, but still in a pretty dogmatically intuitional fashion. The counterpart to this we find to be rampant in modern English-speaking philosophy dominated by the thought-style of Logical Positivism, though many of its more recent representatives would disown that label. Mouthpieces of an egalitarian, machine-ridden and utilitarian and functional society intolerant of the idea of kings, aristocrats, slaves, serfs, even rich and poor nay literate and illiterate, these thinkers idolize human “wanting” as such, whatever its contents and characteristics, would reduce all value to “needs” or “desires” and their different “intensities” and in their turn, I venture to say, seek preposterously to evade the very concept of Hierarchy, not only on the plane of social philosophy but also in the context of Axiology. They postulate a flattened world from which the experience of Verticality is all but wholly excluded. (shrink)

J. Angelo Corlett’s new book, Interpreting Plato Socratically continues the critical discussion of the Platonic Question where Corlett’s book, Interpreting Plato’s Dialogues concluded. New arguments in favor of the Mouthpiece Interpretation of Plato’s works are considered and shown to be fallacious, as are new objections to some competing approaches to Plato’s works. The Platonic Question is the problem of how to approach and interpret Plato’s writings most of which are dialogues. How, if at all, can Plato’s beliefs, doctrines, theories (...) and such be extracted from dialogues where there is no direct indication from Plato that his own views are even to be found therein? Most philosophers of Plato attempt to decipher from Plato’s texts seemingly all manner of ideas expressed by Socrates which they then attribute to Plato. They seek to ascribe to Plato particular views about justice, art, love, virtue, knowledge, and the like because, they believe, Socrates is Plato’s mouthpiece through the dialogues. But is such an approach justified? What are the arguments in favor of such an approach? Is there a viable alternative approach to Plato’s dialogues? In this rigorous account of the dominant approach to Plato’s dialogues, there is no room left for reasonable doubt about the problematic reasons given for the notion that Plato’s dialogues reveal either Plato’s or Socrates’ beliefs, doctrines or theories about substantive philosophical matters. Corlett’s approach to Plato’s dialogues is applied to a variety of passages throughout Plato’s works on a wide range of topics concerning justice. In-depth discussions of themes such as legal obligation, punishment and compensatory justice are clarified and with some surprising results. Plato’s works serve as a rich source of philosophical thinking about such matters. A central question in today’s Platonic studies is whether Socrates, or any other protagonist in the dialogues, presents views that the author wanted to assert or defend. Professor Corlett offers a detailed defense of his view that the role of Socrates is to raise questions rather than to provide the author’s answers to them. This defense is timely as intellectual historians consider the part played by Academic scholars centuries after Plato in systematizing Platonism. J. J. Mulhern, University of Pennsylvania. (shrink)

In recent years, there have been an increasing number of attempts by analytic philosophers to engage with key insights of Critical Theory. While this has had some success within feminist philosophy, and in epistemology, with the emergence of political epistemology as a significant and productive subfield, analytic political philosophers have generally not explored what lessons can be learnt from attempting to bridge the disciplinary divide. In this chapter, I provide what I take to be the clearest explanation for this, namely (...) the dominance of Rawlsianism within analytic political philosophy. Moreover, I argue that in its refusal to engage with core tenets of Critical Theory, Rawlsian political philosophy can be exploited as the mouthpiece of dominant ideologies. However, this is not a charge against analytic political philosophy in general, insofar as analytic political philosophers are willing to engage with Critical Theory, at the cost of dismissing Rawlsianism. -/- . (shrink)

This book offers inter alia a systematic investigation of the actual argumentative strategy of Socratic conversation and explorations of Socratic and Platonic morality including an examination ofeudaimonia and the mental conception of health in the Republic as self-control, with a view to the relation of individual health/happiness to social order. The essays cover a period from 1968 to 2012. Some of them are now published for the first time. Self-motion in the later dialogues involves tripartition and tripartition in turn involves (...) embodiment. The Philebus psychology too anticipates Aristotle. The Forms of the Timaeus are patterns, but the two-world picture is abandoned: there is one world constituted by Forms and Place. The Epinomis is arguably genuine. More generally, denying that Plato develops, e.g. exegetically and psychologically, is absurd. There are too many contradictions in the Corpus. The dialogues are artistic wholes and the author's message must be interpreted accordingly: hence in a sense every character is Plato's mouthpiece. Aristotle's idea of the human good or quality of life as optimal mental activity according to the special human capabilities is the root of the modern selfactualization projects. Panaetius (free reason) and Posidonius (science) mark the end of the older Stoa's hard-core materialism and the beginning of a new more 'modern' era. -/- . (shrink)

Marxism was indeed vulgarized due to scientism in the 20th century, which even limits the development of Chinese social theories nowadays. This paper put forward the idea that it was serious misunderstanding to interpret Marx as prophet or inventor like empiricists who regard finding out eternal laws as the goal of science. In fact, Marx did not propose any so-called “natural laws of historical development”. He articulated that the only thing worth to do was to take note of what happened (...) before his eyes and to become its mouthpiece. Thus, to understand science in the face of social practice, to analyze everything historically and never to thrust “eternal” laws in any era should be taken as the core of Marx’s new science, which is very important to China today. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Matthew S. Santirocco JUSTICE IN SOPHOCLES' ANTIGONE Sophocles' Antigone is most often apprehended in terms of conflicts, an approach which the play does indeed invite. The personal clash of Antigone and Creon generates conflicts on many different levels— political (individual or family vs. state, aristocracy vs. democracy), theological (gods vs. men), philosophical (nature vs. law or convention), sexual (woman vs. man), even chronological (young vs. old). However, insofar as (...) no list can ever be so inclusive as the play itself, all such discussions tend by their very nature to be reductionist. And even if a balanced critique were possible at this level, a tragedy is not the sum of abstract conflicts; it is theatre, people in action. Furthermore, the conflict approach encourages us to ask the wrong questions. Although conflict need not imply resolution, critics persist in searching for it. Yet there is no resolution in the Antigone except by death. Similarly, such an approach invites us to ask who is right, Antigone or Creon. But in a very real sense this question misses Sophocles' point. Relevant, perhaps, to versions by Anouilh and Brecht, the question misleads when applied to the ancient play. It is interesting that we oversimplify, for Sophocles' sympathies are more expansive and complex than these modern interpretations of his myth. For all these reasons a valid alternative approach to the play may be to consider it not in terms of the conflicts incarnated in the personalities but rather in terms of one theme in the context of which all the conflicts are played out. The precise issue here, as so often in Greek tragedy, is a philosophical one. As the religious thought of an earlier era was yielding to judicial and political thought, and as older heroic ideals were being supplanted by a rationalistic view of man, tragedy's function in fifth-century Athens was, in part at least, to expose and explore these cultural displacements, either by affirming traditional values and concepts or else by questioning their continued validity. One such concept, perhaps the most recurrent in tragedy, 180 Matthew S. Santirocco181 is justice, dike. Originally a term used to refer to things as they are, dike came also to acquire a normative sense, things as they ought to be. At different times and in different contexts the word can signify custom or usage, law-enforcing authority, penalty, and ofcourse "justice" as a higher standard. Its precise semantic range is wide and fluctuating. Thus tragedy becomes, in a sense, a matter of vocabulary. In the Antigone the characters appeal to justice, but each defines it differently, so that the conflict is not so much between justice and injustice as between one sort of justice and another. The Oresteia of Aeschylus had earlier celebrated the transition from vendetta justice to courtroom justice. The Antigone, however, focuses not so much on the changes in dike as on a question these changes raise, namely the very possibility of dike. The establishment of the law court brought Aeschylus' trilogy to a resolved ending. Sophocles' vision in the Antigone is much more austere. Although he acknowledges the existence of an ideal of justice, he exposes the tensions and ambiguities inherent in it and thereby questions whether that ideal can ever be realized in the lives of men. II A key text concerning justice is contained in one of the choral odes. But can it be trusted? The tragic chorus is not, after all, the mouthpiece of the poet as was the comic chorus in Aristophanes' parabaseis. Nor is it always or necessarily the mouthpiece of the audience, SchlegeFs "ideal spectator." In the Antigone, as elsewhere, the chorus simply constitutes a panel of the population (here, of Thebes) and its perspective on the action is, if not omniscient, not particularly partisan either. Gordon Kirkwood has demonstrated the many dramatic functions of the Sophoclean chorus, including its ambiguities. In the Antigone no fewer than three odes are ambiguous, leaving in doubt the identity of the one who has disturbed order and right (332-75), who has violated the will of heaven (582-625), and whose mind has been perverted by love (781-816). Although the chorus may not be aware of the... (shrink)

Although the importance of the interplay of literature and philosophy in Germany has often been examined within individual works or groups of works by particular authors, little research has been undertaken into the broader dialogue of German literature and philosophy as a whole. Philosophy and German Literature 1700–1990 offers six chapters by leading specialists on the dialogue between the work of German literary writers and philosophers through their works. The volume shows that German literature, far from being the mouthpiece (...) of a dour philosophical culture dominated by the great names of Leibniz, Kant, Hegel, Marx, Heidegger and Habermas, has much more to offer: while possessing a high affinity with philosophy it explores regions of human insight and experience beyond philosophy's ken. (shrink)

In January 1889, V.I. Vernadskii wrote to his wife from Munich about the "great truth" that "Dürer's powerful mind" had expressed in his painting The Four Apostles. "The dreamer,… the profound philosopher seeks… the truth and gives rise to a less profound pupil as an intermediary," who "cannot understand the full essence," but "is closer to life,… explains in concrete terms what the other has said,… distorts him, but that is precisely why the masses will understand him: because he will (...) grasp a small piece of the new and combine it with age-old popular beliefs." Beside them stand two figures with the severe countenances not of thinkers but of politicians. One is "ready to fight for the truth and will have no mercy on the enemy, unless the enemy comes over to his side.… He wants power too, he is capable of leading the crowd, but he understands what the cause is about, this is the fighter-thinker. And next to him is the fanatical, bestial countenance of the fourth apostle. He is a petty politician.… He pursues this idea in a harsh, mercilessly narrow spirit" and "is already a completely base mouthpiece of the crowd and its means. But he is easiest to understand, and de facto most powerful. But one can hardly recognize the thoughts of the first apostle in the outward form of the fourth, and thus, in particular, even that which has influenced humanity most strongly and powerfully may come to pass.". (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 43.4 (2005) 490-491 [Access article in PDF] Husain Sarkar. Descartes' Cogito: Saved from the Great Shipwreck. New York: Cambridge University Press, 2003. Pp. xviii + 305. Cloth, $65.00. Descartes's first critics attacked his cogito, ergo sum as deficient; his present critics attack it as excessive. Either way, it is an Archimedean point in Descartes's world and merits a book-length study. In this book, (...) Husain Sarkar makes a powerful case that the cogito is not an argument, but rather an "experiment," generating an intuition enabling Descartes to retrieve a timber from what Bourdin called the "great shipwreck" of the hyperbolic doubt.Sarkar places the experiment within his own fresh readings of Descartes's philosophy. They will be illuminating to new Descartes scholars. Some readings will seem perverse or cryptic. Constructive passages illuminate more, polemic passages less, as when Sarkar finds seven flaws in Hintikka's cogito interpretation. Despite the polemic excesses, Sarkar writes with modesty, epitomized by his slogan, "Reason with them in the most courteous manner."With verve and imagination Sarkar presents the cogito as an experiment which can be carried out in any world at all and yields an intuition that qualifies as a Cartesian first principle. He suggests various implications of his interpretation—for example, for the epistemic role of will: "The will initially learns the limits that it must recognize only at the foot of the cogito... It is in the state of the cogito that the will learns what it means to be ineluctably inclined toward affirming a proposition, and what it is to be free" (256).What is the content of the intuited 'I exist'? Sarkar calls upon Robert Adams's notion of a "primitive thisness," entirely distinct from a substance's properties or "suchnesses," and upon David Lewis's thesis that besides knowing propositions a person can know a self-ascription of a property. Still, he makes no headway at all. True, the question is extraordinarily [End Page 490] difficult. It has not yielded appreciably to brilliant phenomenologists or brilliant students of direct reference and indexicality or, for that matter, me. The content of 'I' statements is a topic for another book, and no one I know of is writing it.In the book's centerpiece, Sarkar marshals a series of attacks on the cogito as argument. Sometimes they miss—more polemic overkill. Usually they hit home. Their cumulative effect is persuasive.Descartes says that "I think, therefore I exist" is the first principle of his philosophy (VI, 32; VIIIA, 7; V, 147: references are to the Adam and Tannery edition). But if the cogito were an argument, one of its premises would become his first principle.An argument requires movement of thought and that requires reliance on memory (X, 370 and 408), and in the cogito Descartes strips memory of its credentials (VII, 24, superseding the assurances of X, 368).An argument relies on logical principles, but Descartes suspects these and reasoning generally. In the First Meditation he calls into doubt the simplest mathematics; elsewhere he generalizes from mathematics to "self-evident principles" and to "all the arguments I had previously taken as demonstrative proofs" (VI, 32; IXB, 6; similar aspersions are cast in V, 137 and 139). (But see also Mark Olson, "Descartes' First Meditation: Mathematics and the Laws of Logic" JHP 26 [1988]: 407–438.)I'll add a wrinkle. Descartes's mouthpiece Eudoxus says you can use your own doubt to deduce facts that are even more certain than those commonly built upon the great principle that it is impossible that a thing should both exist and at the same time not exist (X, 522). The conclusion of any argument rests on such logical principles. If the cogito were an argument, its certainty could not exceed theirs. Descartes suggests here that it does.Sarkar also cites Descartes's denigrations of "logic," but these often pertain not to reasoning generally but to syllogistic logic. Thus Margaret Wilson took the cogito to be a nonsyllogistic argument. Still, Sarkar effectively deploys... (shrink)

Despite Diotima’s irresistible virtues and attractiveness across the millennia, she spells trouble for philosophy. It is not her fault that she has been misunderstood, nor is it Plato’s. Rather, I suspect, each era has made of Diotima what it desired her to be. Her malleability is related to the assumption that Plato invented her, that she is a mere literary fiction, licensing the imagination to do what it will. In the first part of my paper, I argue against three contemporary (...) ‘majority views’ about Diotima that I regard as false. The first is that we can be certain she is fictional;1 a second is that Diotima is our best evidence for Plato’s feminism; the third, that she is Plato’s mouthpiece for the higher mysteries in the Symposium. After I have set aside what I regard as false, I proceed in the second half of my paper to develop Diotima’s positive contribution to philosophical psychology, her naturalistic account of the psyche as mortal, unified, and developmental. Whether the view Plato assigns to her is one that he held I do not pretend to know; but it is a powerful, defensible, and coherent view that inspired positive aspects of Freudian psychology in the twentieth century. Freud’s insight, in fact, makes clear how erōs can be developed in relation to the bad as well as the good. (shrink)

This paper is dedicated to V. V. Rosanov views on the issue of sexual love. Analyzing the system of Rosanov’s notions of the God, nature and sex, authors show how the philosopher is trying to create pansexualistic quasireligious doctrine versus Christianity. The thinker is referred to as a radical ideologist of mystical-erotic revolution and a mouthpiece of peculiar to Russian culture trend towards the construction of a national religion.

ABSTRACTThe aim of this article is twofold: first, to show that, in Plato'sHippias Major,Hippias is the mouthpiece of a materialist ontology; second, to discuss the critique of this ontology. My argument is based on an interpretation ofHippias Major300b4–301e3. I begin by revealing the shortcomings of P. Woodruff's and I. Ludlam's interpretations. Next, I define the concept of materialism as it was understood in ancient Greece in order to outline the specificity of Hippias' materialism. Finally, I argue that the opposition (...) between the two characters of theHippias Majorrepresents in fact an ontological opposition between two conceptions of what a unity is, i.e., Hippias' elementary corporal unities and Socrates' “formal unity.”. (shrink)

By Burnet's principle I mean the theory that, contrary to the usual belief of scholars in the nineteenth century, the character "Socrates" in the dialogues of Plato is to be regarded not as an idealized figure, not as the mouthpiece for Plato's original philosophical doctrines, but as Plato's accurate representation of the historical Socrates whom he had known.

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)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 34.2 (2006) 62-84 [Access article in PDF] Georg Lukács Magus Realismus? Sara Nadal-Melsió The reception of Georg Lukács's theorizing of realist narratives has been complicated and controversial, often relying on an artificial division of Lukács's oeuvre. On the one hand, the widely admired History and Class Consciousness stands as the mouthpiece for anything philosophical or political in Lukács. On the other, one finds a generalized dismissal of (...) Lukács's "reactionary" defenses of realism. But the role of realism in Lukács's oeuvre cannot be trivialized or rejected as "doctrinaire" or "outmoded"—two of the most common charges against Lukácsean literary criticism—without damaging an understanding of his political and philosophical contributions to Western Marxism.I thus propose a revisiting of Lukács's writings on literature during the 1930s. I consider them to be a development of the philosophical insights of History and Class Consciousness and as a corrective to the aesthetic theory of Theory of the Novel in the form of an axiological understanding of literary change and preservation. One cannot accept the outcome of Lukács's philosophical investigations and dismiss his often authoritarian radical advocacy of realism—for they are mutually inclusive. Lukács's project takes shape through his use of the aesthetic to salvage ideological and epistemological issues raised by his critical adoption of Marxism. What I propose is similar to what has become a trademark of Gramscian studies.1 In the same way that one does not begin an analysis of Gramsci's philosophy without addressing his molding and obsessive study of the Italian language, his twisting and redefinition of words ("hegemony," "intellectual," and so on), one should not, indeed cannot, embark on the exegesis of Lukács's philosophical writing without addressing his use of literary criticism and of nineteenth-century realism to rethink philosophical Marxism and to rename some of his terminology; "naturalism" and "realism" became, from the 1930s onward, codewords for a reworking of his earlier "reification" and "totality." After History and Class Consciousness, the superstructure, culture, and its changing values, not only became the condition of possibility for a Lukácsean/Marxist philosophy but, in a move against determinism, the only, quasi-utopian transformative force able to explain Marxism to itself. After Lukács, it comes as no surprise that Marx's last, never completed, project was a critical study of Balzac's La comédie humaine.I will focus on two moments of Lukács's "turn to literature": his famously controversial intervention in the Expressionism Debate and his less prominent entrance into the realm of "literary criticism," the essays "Narrate or Describe" and "The Intellectual Physiognomy in Characterization. " I will also read Lukács's failure to theorize contemporary realism in terms of his own insights regarding the historicity of subjective standpoints. Paradoxically, this failure functions as an example and proof of the Lukácsean narrative of literary change.While the first critical work to acknowledge the philosophical implications of Lukács's defense of realism, Fredric Jameson's 1971 Marxism and Form, remains [End Page 62] widely read, it did not bring about a reconsideration of Lukács's literary criticism. It is Jameson's contention that Lukács's entire oeuvre can be accounted for through an epistemology of narrative. Thus, Lukács's numerous writings emerge as part of a coherent and single-minded project. According to Jameson, "Lukács's work may be seen as a continuous and lifelong meditation on narrative, on its basic structures, its relationship to the reality it expresses, and its epistemological value when compared with other, more abstract and philosophical, modes of understanding" [163].2 If one agrees with Jameson's statement, one is also forced to acknowledge the sustained coherence of the Lukácsean project together with its enforced complexity. The chronology of such a lifelong project (1885–1971) began with the ambiguities of "fin-de-siècle" aestheticism and ended shortly after May '68. Lukács's recantations, revisions, and contradictions play against the backdrop of historical and institutional pressure. Yet one cannot help... (shrink)

To unravel the intricacies of the last argument of the Phaedo for the immortality of the soul, the reader has to peel away successive presuppositions, his own, Plato's and not least the presupposition that Plato very skilfully portrays as being shared by Socrates and his friends.A first presupposition is the reader's own. According to our modern ways of thinking, a soul that is immortal, if there is such a thing, is a soul that lives forever. That presupposition is not shared (...) by Socrates and Cebes (Socrates' interlocutor in the final argument). A soul that survives separation from the body, once or a number of times, is held to have survived death and therefore to be immortal. But it does not follow that it will live forever. For a soul to live forever, it must be shown to be not only immortal, but imperishable. Only if the soul is both immortal and imperishable can the assembled company be sure that the Socrates who is talking to them now will still be living when, after sunset, he has drunk the hemlock and can talk to them no more.The modern reader who has divested himself of the presupposition that immortal and imperishable are mere synonyms, and therefore appreciates the need for an argument designed specifically to prove that the soul is imperishable and not merely immortal, has nonetheless to be aware of a second presupposition, a presupposition shared by Socrates and his friends which restricts the meaning that the modern reader might otherwise suppose to be conveyed by the word 'imperishable'. Both Socrates and Cebes, as portrayed in the Phaedo, take it for granted that the only time when the soul might perish is the moment of her separation from the body. Provided it can be shown that the soul will survive separation from the body, no matter how often the body is taken from her, the soul, so they are happy to assume, will have shown herself to be both immortal and imperishable.We do not have to suppose that this second presupposition is shared by the author of the dialogue. Plato's subtle but insistent restriction of the moment when the soul might be threatened with extinction to the moment of her separation from the body has been deliberately designed to alert the reader to a way of thinking which Socrates, Cebes and Echecrates all take for granted, but which Plato does not necessarily invite the reader of the dialogue to share.The restriction is nonetheless essential to the structure of the argument. It is because Socrates does not envisage a possible extinction of the soul at any moment other than the moment of separation from the body that he is able to present a soul that is essentially alive as immune to the death which separates soul from body, however often such a separation may occur, and as therefore (so he claims) not only immortal but imperishable.In presenting that argument, how far has Plato deliberately foregone any attempt to prove that the soul is imperishable subsequently to the moment of her separation from the body? Socrates argues that the soul is unaffected by the death of the body because she is essentially alive. He does not argue that she is immune to destruction or extinction because she is essentially existent. In the face of Plato's silence, in the Phaedo and elsewhere, the modern reader has to hold in abeyance a third and final presupposition, that only a being whose essence it is to exist can of its nature never not exist.To understand the dialogue is therefore no easy matter. The reader needs to distinguish Socrates as the mouthpiece of Plato from Plato as the author of the dialogue. At the same time the modern reader has to distinguish the Plato of history from a fictional Plato who shares our own ideas and our own preconceptions, including the concept of a being cuius essentia est esse. An intricate double task, which other modern readers of the dialogue have so far not even attempted. (shrink)

This short essay takes stock of H.L. Mencken's portrayal of Samuel Johnson as the "first Rotarian" and as nothing more than a mouthpiece for the prejudices and defender of the authorities of his time. I suggest by contrast that Johnson was fully appreciative of the need for the writer to be at a distance from the prejudices of his age and that rather than a mind blinkered by deep national prejudices Johnson was in fact a "Good European" as cosmopolitan (...) in spirit as he was English in his character. (shrink)

IntroductionWind instrument players sometimes suffer from erosion of the mucous membrane of the lip. This is caused by the action and pressure of the mouthpiece of the wind instrument against teeth. To address this problem, a lip shield is fitted over the dental arch to prevent direct contact between the lips and teeth. However, there are a few studies on the influence of the lip shield on the acoustics of wind instruments. The purpose of this study was to analyze (...) the psychoacoustics of a clarinet performance with the player wearing a custom-made soft lip shield to prevent mucosal erosion of the lower lip.Case DescriptionA lip shield was custom-made with a soft thermoplastic material for a female clarinetist who complained of mucosal erosion and pain of the lower lip. The psychoacoustics of her musical performance played in different dynamics, fortissimo, mezzo forte and pianissimo were analyzed, including loudness and sharpness. A self-evaluation questionnaire with items rated on a 10-point scale was administered. After wearing the lip shield, the patient reported that the mucosal erosion and pain of her lower lip when playing clarinet resolved. The lip shield had little effect on the loudness. There was a slight decrease in sharpness when the lip shield was worn compared to when it was not, describing the reduction of high frequencies. Furthermore, fewer variations in sharpness between the tones were observed.ConclusionThe results suggest that lip shields made of soft materials can eliminate mucosal erosion and pain of the lower lip while having little effect on performance, although, a slight change in timbre is possible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Diderot philosopheTimo KaitaroColas Duflo. Diderot philosophe. Paris: Honoré Champion, 2003. Pp. 543. Cloth, € 85,00.Diderot's thought has often been believed to be full of incoherencies and paradoxes, lacking the unity characteristic of philosophical systems. It is true that he preferred the form of a dialogue to that of a systematic treatise and that his ideas on a specific subject tend to be dispersed in a variety of philosophical, (...) literary or epistolary texts. However, the different pieces fit together nicely, if one has the patience to put them together. In his new monograph Colas Duflo manages to show the coherence and unity of Diderot's philosophy, not only by showing the consistency of the philosopher's thought on epistemological, aesthetical and moral subjects separately, but also by showing the close interdependence of different aspects of his philosophical inquiry and their grounding in his biological materialism.Before the author examines Diderot's philosophy proper, he introduces the reader to Diderot's manner of writing and shows how the literary forms in which the encyclopedist presented his philosophy are indistinguishable from its content. Diderot did not write dialogues just in order to present in a palatable and entertaining form a philosophy that could well have been presented in erudite treatises. Dialogue was the original form of Diderot's thought. It helped him to distance himself from his thoughts and to put his ideas in a dialogue with each other, instead of systematizing them. In his dialogues the truth is approached by multiplying perspectives instead of being viewed from a central perspective which unifies the various points of view in one vision. Reminding the reader of this aspect of Diderot's philosophy is important. One would look in vain for the traditional mouthpiece of the truth among the protagonists of his dialogues; and this is true even in cases when he stages himself among them.Colas Duflo starts his discussion of Diderot's philosophy by examining the philosopher's complex and changing relation to metaphysical finalism in his first philosophical works. Duflo also lets this theme of finalism run through the book as the main thread, which provides a coherent framework for the treatement of the different aspects of Diderot's philosophy. The presentation of Diderot's early writings situates these works in their contemporary context and manages to reveal the internal logic of Diderot's development from a finalist deist to an antifinalist atheist in a convincing manner. The chapter dealing with Le rêve de d'Alembert provides a careful and well-thought-out reading of this work and shows the originality of Diderot's biological materialism, which has really nothing to do with the mechanism sometimes falsely attributed to him (and to La Mettrie). Diderot's thought was not so much rooted in the mechanical world-view as it was in the sciences of life of his time. In relation to the problem of unity vs. multiplicity in Diderot's organicistic materialism, Duflo tends to emphasize multiplicity. One could, in fact, with as much reason, argue the opposite and put the emphasis on unity. But this is perhaps a matter of taste, since Diderot's originality lies in fact in his ability to take into account both aspects of the organisms by describing the continuing tensions between unifying and disrupting forces at work within them.The part of the book dealing with aesthetics places the encyclopedist's theory of taste in the context of his materialism. The interpretations proposed are convincing although one has to take account of the fact that Duflo uses the word "spontaneous," not in its usual sense referring to immediate and unreflected reactions, but rather as a synonym of innate [End Page 498] (see 303). Diderot emphasized the former but denied the latter. The juxtaposition of Diderot's aesthetics with that of Kant provides some enlightening insights into both. From taste one passes fluently to Diderot's moral philosophy: according to Diderot moral judgements resemble those of taste in so far as they are often as spontaneous as the latter. And despite this they are not innate but based on experience.The chapters dealing with the moral and political philosophy of... (shrink)

This article explores Triphiodorus’ use of Cassandra in his brief epic Sack of Troy. An examination of the placing of the prophetess within the poem's plot and a comparison with previous literary attestations demonstrate that Triphiodorus makes extended use of the previously supplementary character. The reader is particularly invited to read Cassandra against the Cassandras of Euripides’ Trojan Women and Quintus Smyrnaeus’ Posthomerica, thus identifying ties with both epic and tragedy. Cassandra's speech alludes to the proem of the epic. At (...) the same time, Cassandra's prophecy constitutes the key for understanding the connection between imagery deployed prior and subsequent to her presence, thus ensuring the thematic congruity of the poem. Triphiodorus’ Cassandra constitutes a doublet of the poet, depicted as imitating his poetic voice and effectively summarizing the entire epic in her speech; entwined in Triphiodorus’ poetic agenda, she also becomes its intradiegetic mouthpiece. (shrink)

In this paper, I compare the extent of Anglo-American judicial engagement in response to civil disobedience with that of the French judiciary. I begin by examining what the civil disobedient can realistically expect to achieve in a court of law. I shall argue that his priority should be to require the judge, acting as a mouthpiece for the law, to respond to his complaints. To do this, the civil disobedient must be able to deny liability for the offence he (...) has allegedly committed by urging a different interpretation of the law on the basis of an alternative -- but plausible -- reading of constitutional or human rights. If the civil disobedient can do this, he can claim a victory of sorts, even if his claims are ultimately unsuccessful. But legal culture can present a further barrier. Judges have different roles in different jurisdictions and therein lie further difficulties for the French civil disobedient. (shrink)

This is an earlier version of a chapter from my book "Plato's Republic as a Philosophical Drama on Doing Well" (2014). The book analyses Plato’s Politeia (= Republic) as a philosophical drama in which the participants turn out to be models of various types of psychic constitution, and nothing is said by them which may be considered to be an opinion of Plato himself (with all that that entails for Platonism). The debate in Book I between Socrates and Thrasymachus serves (...) as a test case for the assumptions that the Socratic method involves searching for truth or examining the opinions of interlocutors and that Socrates is the mouthpiece of Plato. Socrates and Thrasymachus are usually assumed to be arguing about justice. In fact, they are going through the motions of an eristic debate, where the aim is not to discover the truth about the matter under discussion but to defeat the opponent by fair means or foul, but especially foul. The outrageous wordplay used by both men is not so obvious in translation, and in any case tends to be ignored or explained away by scholars who assume that Plato the philosopher was writing a philosophical treatise (an exposition of philosophical ideas) and not a philosophical drama (a presentation of philosophically interesting models, to be compared and contrasted by the reader). (shrink)

In this paper I use the traditional image of Plato as swan to suggest that interpreting Plato should not be a matter of getting to know what his doctrines are (a doctrinal approach), but rather a of getting to know Plato himself (a knowledge by acquaintance approach). I argue that the dialogues encourage the knowledge by acquaintance approach and discourage the doctrinal approach, through the use of Platonic anonymity, Platonic irony and Platonic self-effacement. I point out how the knowledge by (...) acquaintance approach values the rich diversity of historical opinions about Plato, whereas the doctrinal approach seeks to resolve such diversity once and for all. Even though the doctrinal approach has powerful tools at its disposal—such as the testimony of Aristotle, the principle that the main speaker in a dialogue is Plato’s mouthpiece, and stylometric analysis—the product of a doctrinal approach is a brand of Platonism that is weak, rigid, and ultimately dispensable. The philosophy of Plato is worthy of more respect than that, and it repays such respect with wider understanding. (shrink)

The philosophy of ecology addresses foundational conceptual and methodological issues in ecological science. Specifying these issues is complicated by the fact that there is disagreement among ecologists over how to identify the proper domain of ecology. Many ecologists prefer a more restrictive definition that focuses on properties of nonhuman organisms in natural environments. Others defend a more expansive definition that includes the study of human-environment relations, a view that challenges the traditional conception of ecology as strictly a natural biological science. (...) Consequently, one's understanding of the philosophy of ecology will depend in part on whether one endorses a more restrictive or more expansive conception of ecology. This article reviews issues in the philosophy of ecology in both its restrictive and expansive modes. In its restrictive mode, the philosophy of ecology addresses conceptual and methodological issues in population, community and ecosystem ecology. In its expansive mode, the philosophy of ecology also addresses foundational issues in the human ecological sciences, such as ecological economics and ecological psychology. In this expansive mode the line between ecology-the-science and ecology-the-philosophicalworldview becomes increasingly blurred, but a commitment to scientific methodology prevents ecology from becoming a mere mouthpiece for speculative or radical ecological philosophies. (shrink)

E-cigarettes, sometimes referred to as ENDS, include a broad range of products that deliver nicotine via heating and aerosolization of the drug. ENDS come in a variety of forms, but regardless of form generally consist of a solution containing humectant, flavorings, and usually nicotine ; a battery-powered coil that heats the solution into an aerosol in an atomizing chamber; and a mouthpiece through which the user draws the vapor into the mouth and lungs. The devices may be closed systems (...) containing prefilled cartridges, or open systems, where the user manually refills a 1-2 ml. tank with solution. What started as closed-system cigarette-shaped devices marketed as an adjunct for smoking cessation, has transitioned rapidly to literally thousands of hip and funky-designed open-system hookah pens, vape pens, and modifiable devices. For younger people, these forms are the “in” thing, while traditional cigarette-shaped devices are “out.”. (shrink)