It is generally agreed that the Protagoras recounts a single meeting which took place in the late 430s. If this is correct, then, as has long been recognized, the dialogue contains a number of disturbing anachronisms. It is the purpose of this study to question the supposition of a single dramatic date. I argue that Plato did not record the events of a single meeting in the dialogue, but that he drew upon the action and dialogue of more than (...) one meeting in the course of Protagoras' visits to Athens. If it can be shown that this is the way in which Plato composed the dialogue, then he is not guilty of the glaring anachronisms in the Protagoras with which he is charged. At the end of this study I suggest a reason for Plato's choice of this method of composition. First, however, the evidence for Protagoras' visits to Athens should be considered. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Dramatization of Absolute Idealism:Gabriel Marcel and F. H. BradleyJoseph GamacheI. IntroductionThis paper consists of an observation, a suggestion, and an illustration. First, the observation: in the English-language literature on the philosophy of Gabriel Marcel, there is, so far as I have discovered, a lack of attention paid to the relationship between Marcel and the British philosopher F. H. Bradley (1846–1924).1 Why might be this be? I speculate (this (...) is not the suggestion previously advertised) that the following are possible reasons for this omission. First, Bradley's influence is neglected in favor of what some might regard as the more obvious influence of Josiah Royce (1855–1916). After all, Marcel wrote a series of articles on Royce early in his career that were subsequently published as a monograph and eventually translated into English as Royce's Metaphysics. Second, there is the confluence of narratives concerning Marcel's philosophical development and the dethronement of Bradley and of idealism by figures such as Russell and Moore. According to the former narrative, Marcel's idealist phase ends with the first part of the Metaphysical Journal (about 1915).2 Since Bradley is less widely read these days and is treated simply as one more (even if the chief) representative of British idealism, it is easy to infer that, when he shed his idealism, Marcel also shed any connection with Bradley.But all that I have achieved thus far is the articulation of two reasons why people interested in Marcel have not also been interested in Bradley. Are there any reasons to believe that Marcel was influenced by Bradley in a positive way? Here, we can do no better than to gather some selected texts. In his preface to the English translation of the Metaphysical Journal, Marcel writes: [End Page 17]Meditations on the implications of the word "with" and on metaphysical fruitfulness must in my opinion be counted among the most valuable contributions of the Metaphysical Journal. Later, in the collected writings published under the title Du Refus à l'invocation [translated into English as Creative Fidelity], I was to submit to similar analyses the relations, or rather the super-relations, implies by the French word "chez." Here, unless I am mistaken, I made use of the word super-relation for the first time. The vigorous criticism made by F. H. Bradley (in Appearance and Reality) of the current notion of relation—considered as a pure makeshift—is there extended, and I think I will be never be able to recognize too explicitly what I owe to that great thinker.(Marcel, Metaphysical Journal xii)In the foreword to his pre-Metaphysical Journal works published as Philosophical Fragments 1909–1914, Marcel writes of his early (idealist) phase:I find it hard to understand today how, during the years immediately following the reception of my aggregation degree, and even after having had the privilege of hearing Henri Bergson at the College de France, I could still feel the need to undertake a groping inquiry in such a rarefied atmosphere and with the help of tools borrowed from post-Kantian philosophy. Bradley—I had read Appearance and Reality—should have helped me shake off the strait jacket in which my thought was so tightly bound.(Marcel, Philosophical Fragments 23)In addition to these quotations, I might also add (a) that Marcel had wanted to write a thesis on Bradley, but that the idea had already been claimed by a fellow student (Marcel, Awakenings 74; "Autobiographical Essay" 18), and (b) the existence of a correspondence between Marcel and Bradley in the year 1920, which includes Marcel's sharing with Bradley his articles on Royce.3 Putting this all together, the following picture emerges. Bradley influenced Marcel as a student and in his idealist years, and beyond his idealist years, as the above references suggest.So much for the observation; now for the suggestion. I suggest that Marcel can be read as, in various places throughout his corpus, dramatizing certain Bradleyan themes, thereby drawing out the ontological weight—to use Marcel's phrase—of Bradley's philosophical positions. There is some evidence for this suggestion in Marcel's self-reflection in The Existential... (shrink)

This paper aims to examine the place of the dramatic in the Anthropological Structures of the Imaginary, through a comparative approach between this work and two others : Les Concepts fondamentaux de poétique and Les Deux cent mille situations dramatiques, in order to consider another possible order for the sequence of the structures proposed by Gilbert Durand, although the author declared in a note that he did not choose to follow « the ontogenetic plane of the emergence of dominant (...) reflexes ». (shrink)

Despite student interest and engagement in Platonic dialogues, by the time introductory courses reach serious discussion of Plato’s relationship to Socrates, students are so befuddled by the notion of Socrates’ character espousing a “Platonic” position that they become disheartened and lose interest in the study of Plato. This paper focuses on how the persona of Cephalus affords a special opportunity to address the relationship between Plato and Socrates in the classroom and to thereby reduce student confusion. Drawing on Plato’s Meno (...) and the Republic, the author argues that Cephalus represents a Socratic position on virtue and justice. Tracking how arguments surrounding virtue and justice develop through these two dialogues, the author concludes that the figure of Cephalus allows Plato to pay homage to Socrates while also signaling his philosophical departure from his teacher. Lending concreteness to the relationship between Plato and Socrates, this way of interpreting Cephalus opens students up at a general level to the richness of Plato’s philosophy. (shrink)

Deleuze's text on dramatization has a peculiar place in his philosophy. In this text, he attributes, for the first time in his own name, a singular function to philosophy. I aim to show that all the notions developed in ‘The Method of Dramatization’ – such as the transformation of the status of Ideas, the first development of a theory of individuation, the decentring of subjectivity, the critique of representation – are part of one general function: to grant events the importance (...) they call for. If a method is required for such an endeavour, it is because thought must become the site of the maximal intensification of what – beyond a psychological or an anthropological point of view – is of importance. (shrink)

In his magisterial new commentary on the Amores J. C. McKeown alleges an ‘inconsistency’ or ‘flaw in the dramatic continuity’ between Amores 1.1 and 1.2: ‘whereas Ovid is fully aware in 1.1 that he is under Cupid's domination, he shows no such awareness in the opening lines of 1.2.’ Previously A. Cameron had used this ‘inconsistency’, together with the evident programmatic character of 1.2, as an indication that the second poem must in fact have been the first poem of (...) one of the original five books of Amores; then when Ovid decided to reduce the number of books from five to three, he wanted to keep Esse quid hoc dicam and had no choice but to put it as near as possible the front of the first book, immediately after that book's own introductory poem. This reconstruction McKeown rightly rejects on the ground that 1.2's emphasis on Ovid's newness to love makes it out of place in any book other than the first. (shrink)

In his magisterial new commentary on the Amores J. C. McKeown alleges an ‘inconsistency’ or ‘flaw in the dramatic continuity’ between Amores 1.1 and 1.2: ‘whereas Ovid is fully aware in 1.1 that he is under Cupid's domination, he shows no such awareness in the opening lines of 1.2.’ Previously A. Cameron had used this ‘inconsistency’, together with the evident programmatic character of 1.2, as an indication that the second poem must in fact have been the first poem of (...) one of the original five books of Amores; then when Ovid decided to reduce the number of books from five to three, he wanted to keep Esse quid hoc dicam and had no choice but to put it as near as possible the front of the first book, immediately after that book's own introductory poem. This reconstruction McKeown rightly rejects on the ground that 1.2's emphasis on Ovid's newness to love makes it out of place in any book other than the first. (shrink)

This article argues that the episode in Il. 24.552–658 involving Achilles and Priam brings out the hero’s ability to control his emotions – even if he did lose them momentarily – by means of his calculation of what will come next. This interpretation fits the compositional structure of the epic, whose closure is highlighted by the hero’s dramatized emotions in his encounter with the Trojan king.

v. 1. The foundations of natural philosophy.

I analyse the dramatic setting of the Gorgias by contrasting it with that of the Protagoras. The two dialogues are closely related. In the Gorgias Socrates states that the rhetorician and the sophist are basically indistinguishable in everyday life. In both the Protagoras and the Gorgias, his confrontation with his interlocutors is metaphorically related to a descent to Hades. However, while the events in the Protagoras are narrated by Socrates himself, the Gorgias has readers face the unfolding events without (...) mediation. The temporal and spatial framing of the Gorgias is indeterminate, while both aspects are described in detail in the Protagoras. I maintain that the magical passage from an indeterminate "outside" to an indeterminate "inside" in the Gorgias is significantly related to the characters' attitude towards the boundaries of each other's souls, which are constantly ignored or attacked. As a matter of fact, the dialogue presents a very impressive amount of anger and exchange of abuse, which never ceases until the end. I suggest that the temporal framing demonstrates that the beginning and the end of the dialogue are closely connected. Socrates unexpectedly arrives and refutes Gorgias by asking him unexpected questions. The last myth of judgment indicates that Gorgias' attitude is comparable to that of the mortals who lived during Kronos' age, while Socrates brings about a liberation from appearance which is analogous to the innovations brought about by Zeus. (shrink)

This is an expository article about the solution to the frame problem proposed in 1980 by Raymond Reiter. For years, his “frame default” remained untested and suspect. But developments in some seemingly unrelated areas of computer science—logic programming and satisfiability solvers—eventually exonerated the frame default and turned it into a basis for important applications.

It has often been remarked that the dramatic element of the Platonic writings is unique in philosophy, and there have been many attempts to account for its presence. Recently there has been a greater tendency to see it as more than mere ornamentation or naturalism, as an essential element in understanding the philosophy of the dialogue. The one unquestionably authentic statement by Plato on philosophical writing is in the Phaedrus where Socrates, who wrote no philosophy, is made to criticize (...) treatises because, among other things, a treatise “rolls everywhere, equally to those who understand it and to those for whom it is not fitting, and does not know to whom it should speak and to whom not”. Plato, who did write philosophy, wrote no treatises, and it is reasonable to expect that he regarded the dialogue form which he employed as free from the objections to treatises. (shrink)

Theoretical conceptions of realness can indicate what is fundamental or invariant in our experience of the world but are bound to miss a main point of realism due to the practical detachment of theoretical world modeling. The central sense in recognizing beings we encounter as real is accepting that we are or might be sharing existence with them, partnering with them in some significant way in the development of the world. This stance of engagement belongs to our modeling of how (...) to live. The intentional sharing of existence makes for a dramatic situation, the sharers being viewed as interesting agents or quasi-agents who bear watching because the results of their combining actions might be important (possibly in a fictional world). Dramatizing life realistically is a basic expression of intentional vitality and is presupposed in highly serious forms of moral and aesthetic engagement (such as reverence and enchantment). (shrink)

The most distinctive and highly valued poems of the modern era offer an image of a dramatized "I" acting in a concrete setting. The variety and importance of the poems which fall under this description are suggested simply by the mention of such names as "Elegy Written in a Country Courtyard," "Tintern Abbey," "Ode to a Nightingale," "Ulysses," "My Last Duchess," "Dover Beach," "The Windhover," "The Darkling Thrush," "Sailing to Byzantium," "Leda and the Swan," "The Love Song of J. Alfred (...) Prufrock," "Stopping by Woods on a Snowy Evening." The power and beauty of such poems seems intimately connected with the fact of their dramatic integrity and autonomy, and we have all been taught, in analyzing them, to refer to a "speaker" existing independent of the poet and to avoid the "intentional" and "biographical" fallacies which spuriously link the poem to the poet and the world outside the poem. Such an approach tends to undercut any notion that a poem has a single definite meaning, the meaning the poet gave it, and to support the idea that the meaning of a poem is indeterminate and/or multiple. All this is quite in accord with the orthodox critical doctrine that poetic language is differentiated from scientific language and preserved from competition with it by the fact that it is nonreferential, making no claim upon the real world; and complex, indefinite, and alogical, where scientific language is simple, definite, and logical. Ralph W. Rader is chairman of the department of English at the University of California at Berkeley. His previous contributions to Critical Inquiry are "Fact, Theory, and Literary Explanation" , "Explaining Our Literary Understanding: A Response to Jay Schleusener and Stanley Fish" , and "The Literary Theoretical Contribution of Sheldon Sacks" . Professor Rader's influential studies include Tennyson's "Maud": The Biography Genesis, "Literary Form in Factual Narrative: The Example of Boswell's Johnson," and "The Concept of Genre and Eighteenth-century Studies.". (shrink)

This is, in effect, an extended footnote to CQ 34 , 271. There, having occasion to discuss the ‘Aristophanic’ synopsis of Aeschylus' Eumenides, I expressed doubt about the value of such synopses in general; and I must now seek to justify this aspersion. I am not claiming any expertise in the study of Hellenistic scholarship, and shall largely be leaving it to others to decide what conclusion to draw from the facts I am pointing out; but my note will have (...) served its purpose if it stimulates discussion. (shrink)

This is, in effect, an extended footnote to CQ 34, 271. There, having occasion to discuss the ‘Aristophanic’ synopsis of Aeschylus' Eumenides, I expressed doubt about the value of such synopses in general; and I must now seek to justify this aspersion. I am not claiming any expertise in the study of Hellenistic scholarship, and shall largely be leaving it to others to decide what conclusion to draw from the facts I am pointing out; but my note will have served (...) its purpose if it stimulates discussion. (shrink)

Even though it is not a methodology on the level of principlism or casuistry, narrative bioethics nonetheless contributes to and guides decision-making in the field of biomedical ethics. However, unlike other methodologies, the narrative approach lacks a set of specific patterns and formal rules for doing so. This deficiency leaves this approach more vulnerable to the influence of historical factors; in fact, the vital history of a person is made up of thousands of scenes, which one must select and group (...) under different norms. Yet the historicity of narrative does not destroy its normative value; rather, it gives rise to a confluence of stories that contradict one another on the basis of their practical consequences. This problem is less severe in traditional cultures, where some stories take precedence over others according to the normative value conferred through the supposed authority of their sources. But it manifests in an intense manner within current multicultural societies. It is imperative to find the thread that leads outside the labyrinth of subjectivity. This paper shows that the end of this thread lies, paradoxically, not in actions but in the subject-actors that perform them—specifically when such subjects are conceived as dramaturgical characters in narrative. (shrink)

This paper traces some of the sources of Socratic dialectic: myth, drama, lyric poetry, law and the courts, pre-Socratic cosmology.

THAT the itself-by-itself is mediated to soul by logos is itself mirrored by the dramatic form of Phaedo, the recollection of the last day of Socrates by Phaedo, who was himself there, to Echecrates, who was not there, but who would gladly hear what Socrates said and how he died.

Under what conditions does 'sensation' become 'sensational'? In the early nineteenth century murder was a staple of the sensationalizing popular press and gruesome descriptions were deployed to make a direct impact on the sensations of the reader. By the end of the century, public concern with the thrills, spills, and shocks of modern life was increasingly articulated in the language of sensation. Media sensationalism contributed to this process and magnified its impact, just as sensation was, in turn, taken up by (...) literature, art and film. In the contemporary world the dramatization of these experiences in an era of media panics over terrorism and paedophilia has taken an overtly melodramatic form, in which battles of good and evil play out across the landscapes of our lives. Sensational Subjects develops an innovative, interdisciplinary approach to exploring these themes, their impact and their implications for understanding the modern world. A companion volume, Sympathetic Sentiments: Affect, Emotion and Spectacle in the Modern World is published simultaneously by Bloomsbury. (shrink)

Avant-garde theatre is often invoked as the bellwether for a society that has become postdramatic – fragmented, alienated, and critical of efforts to create collectively shared meanings. A theatre whose sequenced actions have no narrative (so the story goes) mirrors a social world where the most conflictual situations no longer appear as drama but merely as spectacle: a society where audiences look on without any feeling or connection. Because only half right, these theses about postdramatic theatre and society are fundamentally (...) wrong. As modern societies have expanded and differentiated, the elements that compose performances have become separated and often fragmented in both theatre and society. If they can be brought back together again, performances are viewed as authentic and meaningful. If (re)fusion cannot be achieved, performances fail to communicate meaning. The aim of this essay is to demonstrate that a shared ambition to (re)fuse fragmented performative elements has defined the most important strain of avant-garde theatre over the last two centuries. Most radical theatrical innovation has sought to open live drama back up to the telos of myth and ritual. Neither in theatre nor social life can the world transcend dramaturgy; it is fundamental to the search for meaning in a world beyond cosmological religion. (shrink)