Für Gorgias ist Sprache und Rede nicht ein neutrales Medium zur Übermittlung von Sachverhalten, sondern selbst eine Sache eigener Art und als solche hervorragendstes Organ des Menschen, seine Welt praktisch zu verändern. Mitteilung ist Teilnahme an Situationen, die für Menschen jeweils relevant und bewegend sind. Hörend speichern wir nicht Informationen, sondern finden uns ein in die Zugehörigkeit zu den Sachen und Personen von »Interesse«, denen wir so eine Mitsprache in unserem Leben einzuräumen bereit sind. Allein auf solch ein Grundverständnis (...) von Sprache baute eine mit öffentlicher Funktion betraute Rhetorik und allein hierauf baut auch von jeher die Dichtkunst, von welcher auch Gorgias für seine Redekunst das Maß nahm. Mit der vorliegenden Neuausgabe sämtlicher überlieferter Texte und Nachrichten nebst deren erster vollständiger Übersetzung ins Deutsche wird eine der einflußreichsten Persönlichkeiten der klassischen Antike vorgestellt. Die Einleitung des Herausgebers gibt biographische Hinweise und geht ausführlich auf Gorgias’ Verhältnis zur Sprache ein. (shrink)

In den platonischen Werken scheint die historische Figur des Sokrates besonders im Frühwerk omnipräsent. Die Dialogfigur Sokrates führt bei Platon die Auseinandersetzung mit den Sophisten. Einzelne Figuren der Sophistik, darunter Protagoras von Abdera, Gorgias von Leontinoi und Prodikos von Keos spielen dabei eine besonders prominente Rolle. Hinzu kommen als Vertreter der Sophistik u. a. Kallikles, Thrasymachos, Hippias, Kritias, Antiphon. Vor allem die frühe platonische Ethik steht ganz im Zeichen der Auseinandersetzung mit dem sophistischen Angriff auf die konventionelle Moralvorstellung (...) sowie mit dem Anspruch der Sophisten, Tugenden lehren zu können. (shrink)

Der Autor legt hier die erste Gesamtdarstellung der antiken Ansätze zu einer vergleichenden Zeichentheorie der Künste (Poesie, Plastik, Malerei, Musik, aber auch darstellendes Verhalten in der Lebenspraxis) vor, die für die Herausbildung und Entwicklung der griechischen Ästhetik, Literatur- und Kunsttheorie konstitutiv waren. Von Simonides über Empedokles, Gorgias, Platon und Aristoteles bis zur Stoa (von Chrysipp bis Poseidonios) und zu den Epikureern (von Epikur bis zu Philodem) werden alle wichtigen Positionen und Debattenlinien zwischen Spätarchaik und Späthellenismus behandelt, eingebettet in eine (...) breit angelegte Analyse des semiotischen Feldes (Zeichen in Medizin, Rhetorik, Geschichtsschreibung, Logik, Epistemologie, Physik und anderen Wissenschaften). Die poetologisch, kunsttheoretisch und musikologisch relevanten Probleme einer vergleichenden Zeichentheorie werden in konkreten Literatur- und Kunstanalysen am Material entwickelt (Euripides, hellenistische Plastik, Philodems Epigramme, Lukrez' De Rerum Natura). (shrink)

This is the introduction and the translation of Gorgias' "Helen". The speech is considered to be one of the most interesting pieces of early Greek rhetoric not only because of its rhetorical, but also because of its philosophical value. There is no doubt that it sets out the outlines of the sophistic conception of logos and (along with another Gorgias' speech Palamedes) represents the starting point for the Plato's critique of Gorgias' rhetoric in the dialogue "Gorgias'.

This is the introduction and the translation with a vast commentary in the footnotes of Gorgias' "Palamedes".

These are the excerpts from the book "Sztuka a prawda. Problem sztuki w dyskusji między Gorgiaszem a Platonem" concerning Gorgias' theory of apate (deception).

Rhetorik der Platonischen Verteidigung des Sokrates Die Platonische Verteidigung des Sokrates nimmt einen besonderen Platz im Werk Platons ein. Zweifellos schafft sie viele Fragen, das Datum und Umstände ihrer Entste- hung betreffend, oder hinsichtlich der darin enthaltenen originellen ldeen und ihrer Treue gegenüber der Verteidigungsrede von Sokrates selbst. Die Verteidigungsrede (eigentlich sind es drei Verteidigungsreden) ist jedoch auch aus dem Grund sehr interessant, daß sie (als Verteidigungsrede) zu einer gewissen Tradition gehört, die für immer mit der Sophi- stik verbunden ist. (...) Diese Tatsache erlangt besonders deswegen große Bedeutung, weil Platon mit diesen Reden ein Gebiet betritt, das eine Domäne der philosophischen Haupt- feinde sowohl von Sokrates als auch von Platon selbst ist. Aus der Perspektive der späte- ren Texte Platons und der darin geäußerten Ablehnung gegenüber Anwendung der Rhe- torik ist es interessant, die Apologie des Sokrates in ihrem Aufbau zu analysieren. Die Be- stimmung des intertextuellen Hintergrunds der Platonischen Verteidigung des Sokrates, ihr Bezug auf rhetorische Traditionen jener Zeit und der Hinweis auf strukturelle, inhal- tliche und philosophische Anknüpfungen können bei der Rekonstruktion der Platonischen Auffassung von Rhetorik und des Verhältnisses Platons zu der Sophistik hilfreich sein. (shrink)

Die Platonische Position des mengentheoretischen Universalismus, nach der das Mengenuniversum sprachunabhängig existiert, durch reine Anschauung erkannt und sprachlich mitteilbar ist, kann aus folgenden Gründen nicht aufrechterhalten werden: Die metalogischen Ergebnisse von Skolem und Löwenheim zeigen, daß die von einem Platonisten verwendete Sprache der engeren Quantorenlogik NichtStandard-Modelle besitzt, so daß er daher insbesondere nicht mitteilen kann, was er mit,Allklasse',,leere Klasse' und,Element' meint, da es nicht intendierte Interpretationen für diese Ausdrücke gibt. Hieraus folgt, daß der Zermelosche Mengentrichter, den der Platonist als durch (...) reine Anschauung zu erkennen vorgibt, auch im Sinne einer von ihm nicht intendierten Sprache der einfachen Typentheorie interpretierbar ist. Des weiteren gibt es weder die absolute Folge der Sprachstufen noch die dabei vorausgesetzten Ontologien. Diese Argumente stärken die Auffassung eines ontologischen Relativismus im Sinne von Gorgias. (shrink)

Die Platonische Position des mengentheoretischen Universalismus, nach der das Mengenuniversum sprachunabhängig existiert, durch reine Anschauung erkannt und sprachlich mitteilbar ist, kann aus folgenden Gründen nicht aufrechterhalten werden: Die metalogischen Ergebnisse von Skolem und Löwenheim zeigen, daß die von einem Platonisten verwendete Sprache der engeren Quantorenlogik NichtStandard-Modelle besitzt, so daß er daher insbesondere nicht mitteilen kann, was er mit,Allklasse',,leere Klasse' und,Element' meint, da es nicht intendierte Interpretationen für diese Ausdrücke gibt. Hieraus folgt, daß der Zermelosche Mengentrichter, den der Platonist als durch (...) reine Anschauung zu erkennen vorgibt, auch im Sinne einer von ihm nicht intendierten Sprache der einfachen Typentheorie interpretierbar ist. Des weiteren gibt es weder die absolute Folge der Sprachstufen noch die dabei vorausgesetzten Ontologien. Diese Argumente stärken die Auffassung eines ontologischen Relativismus im Sinne von Gorgias. (shrink)

The article argues that the doctrine of Gorgias of Leontinoi, as expressed in his "Encomion of Helen", is not a rhetorical technique but a practice of moral education. The medium of this "ethical speech practice" is perceptual forms, its basic mode being the practice of showing or epideictic speech. The crucial standard of this practice is "epideictic rightness", which is identical to Gorgias’ conception of "truth.". According to this conception, speech is true if it exemplifies morally right (...) conduct and moral beauty. True speech in this sense must also be effective speech, since it will promote right behaviour in the future. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of (...) art (techne). The ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

I Two Traditions. Scientific inquiry, seen in a very broad perspective, may be said to present two main aspects. One is the ascertaining and discovery of ...

Achievements have recently begun to attract increased attention from value theorists. One recurring idea in this budding literature is that one important factor determining the magnitude or value of an achievement is the amount of effort the achiever invested. The aim of this paper is to present the most plausible version of this idea. This advances the current state of debate where authors are invoking substantially different notions of effort and are thus talking past each other. While the concept of (...) effort has been invoked in the philosophical analysis of a number of important concepts such as desert, attention, competence, and distributive justice, it has hardly ever been analyzed itself. This paper makes headway in this regard by discussing three ambiguities in the everyday notion of effort. It continues to develop two accounts of effort and shows how both of them are achievement-enhancing. (shrink)

Keine ausführliche Beschreibung für "Die Überwindung des mathematischen Erkenntnisideals" verfügbar.

Collective emotions are at the heart of any society and become evident in gatherings, crowds, or responses to widely salient events. However, they remain poorly understood and conceptualized in scientific terms. Here, we provide first steps towards a theory of collective emotions. We first review accounts of the social and cultural embeddedness of emotion that contribute to understanding collective emotions from three broad perspectives: face-to-face encounters, culture and shared knowledge, and identification with a social collective. In discussing their strengths and (...) shortcomings and highlighting areas of conceptual overlap, we translate these views into a number of bottom–up mechanisms that explain collective emotion elicitation on the levels of social cognition, expressive behavior, and social practices. (shrink)

This paper critically assesses existing accounts of the nature of difficulty, finds them wanting, and proposes a new account. The concept of difficulty is routinely invoked in debates regarding degrees of moral responsibility, and the value of achievement. Until recently, however, there has not been any sustained attempt to provide an account of the nature of difficulty itself. This has changed with Gwen Bradford’s Achievement, which argues that difficulty is a matter of how much intense effort is expended. But while (...) this account captures something important about the relationship between difficulty and achievement, it fails to account for the fact that part of what makes achievements great is that they are difficult in a moderately agent-neutral kind of way. Nor is this thought captured by any other extant account. I argue that to fill this gap we should think of difficulty in terms of low probability of success. (shrink)

Responsible Research and Innovation (RRI) reflects an innovation paradigm that acknowledges that market innovations do not automatically deliver on socially desirable objectives, and requires a broad governance of knowledge coalitions of governmental bodies as well as industrial and societal actors to address market deficits. Responsible Innovation should be understood as a new paradigm for innovation which requires institutional changes in the research and innovation system and the public governance of the economy. It also requires the institutionalisation of an ethics of (...) co-responsibility as well as the introduction of new standards and certification processes for products. Dr. Dr. phil. von Schomberg will introduce Responsible Innovation against the background of 6 deficits of the (global) research and innovation system. (shrink)

Dalla vertigine dialettica del trattato "Su ciò che non è" alle provocatorie orazioni incentrate sulle figure mitiche di Elena e Palamede, il filosofo e retore Gorgia trasforma la potenza persuasiva del linguaggio in una vera e propria azione terapeutica: l'anima va curata con la pratica dell'armonia, con uno stile rigorosamente strutturato e, insieme, smascherando false verità e vuote ontologie. La parola, perduta l'unicità definitoria e la corrispondenza all'essenza delle cose, non può che rinunciare alla propria pretesa veritativa. In questo vuoto (...) si inserisce l'azione del logos retorico, creatore di un nuovo gioco linguistico, un nuovo "sapiente inganno" di cui anche chi ascolta può entrare a far parte. Il volume raccoglie tutti i frammenti del sofista Gorgia di Leontini e le testimonianze sulla sua vita e sulla sua opera, centrale per la storia del pensiero occidentale nel passaggio dalla riflessione eleatica e atomistica alla tradizione platonico-aristotelica. (shrink)

IN 1959 and 1960 I gave the Gifford Lectures in the University of St. Andrews. The lectures were called 'Norms and Values, an Inquiry into the Conceptual Foundations of Morals and Legislation'. The present work is substantially the same as the content of the second series of lectures, then advertised under the not very adequate title 'Values'. It is my plan to publish a revised version of the content of the first series of lectures, called 'Norms', as a separate book. (...) The two works will be independent of one another. (shrink)

way on the information available in the contexts in which they are used, it’s not surprising that there is a minor but growing industry of work in semantics and the philosophy of language concerned with the precise nature of the context-dependency of epistemically modalized sentences. Take, for instance, an epistemic might-claim like..

In the recent literature on all things metaontological, discussion of a notorious Meinongian doctrine—the thesis that some objects have no kind of being at all—has been conspicuous by its absence. And this is despite the fact that this thesis is the central element of the noneist metaphysics of Richard Routley (1980) and Graham Priest (2005). In this paper, we therefore examine the metaontological foundations of noneism, with a view to seeing exactly how the noneist's approach to ontological inquiry differs from (...) the orthodox Quinean one. We proceed by arguing that the core anti-Quinean element in noneism has routinely been misidentified: rather than concerning Quine's thesis that to be is to be the value of a variable, the real difference is that the noneist rejects what we identify as Quine's “translate-and-deflate” methodology. In rejecting this aspect of Quinean orthodoxy, the noneist is in good company: many of those who think that questions of fundamentality should be the proper focus of ontological inquiry can be read as rejecting it too. Accordingly, we then examine the differences between the noneist's conception of ontology and that offered by the fundamentalist. We argue that these two anti-Quinean approaches differ in terms of their respective conceptions of the theoretical role associated with the notion of being. And the contrast that emerges between them is, in the end, an explanatory one. (shrink)

According to the Market Failures Approach to business ethics, beyond-compliance duties can be derived by employing the same rationale and arguments that justify state regulation of economic conduct. Very roughly the idea is that managers have a duty to behave as if they were complying with an ideal regulatory regime ensuring Pareto-optimal market outcomes. Proponents of the approach argue that managers have a professional duty not to undermine the institutional setting that defines their role, namely the competitive market. This answer (...) is inadequate, however, for it is the hierarchical firm, rather than the competitive market, that defines the role of corporate managers and shapes their professional obligations. Thus, if the obligations that the market failures approach generates are to apply to managers, they must do so in an indirect way. I suggest that the obligations the market failures approach generates directly apply to shareholders. Managers, in turn, inherit these obligations as part of their duties as loyal agents. (shrink)

Like Hayek, Mises moved beyond economics in his later years to address questions regarding the foundation of all social science. But unlike Hayeks attempts, Misess writings on these matters have received less attention than they deserve. Theory and Histor, writes Rothbard in his introduction, "remains by far the most neglected masterwork of Mises. Here Mises defends his all-important idea of methodological dualism: one approach to the hard sciences and another for the social sciences. He defends the epistemological status of economic (...) proposition. He has his most extended analysis of those who want to claim that there is more than one logical structure by which we think about reality. He grapples with the problem of determinism and free will. And presents philosophy of history and historical research. Overall, this is a tremendously lucid defense of the fundamental Misesian approach to social philosophy. "It is Misess great methodological work, explaining the basis of his approach to economics, and providing scintillating critiques of such fallacious alternatives as historicism, scientism, and Marxian dialectical materialism. Austrian economics will never enjoy a genuine renaissance until economists read and absorb the vital lessons of this unfortunately neglected work." Theory and History should be required for any student of 20th century ideas. (shrink)