Techne and praxis are the most useful and appropriate terms with which one can approach the larger question of theory and praxis in the Platonic dialogues, and it is this question which is the principal theme of this dissertation. Since the issue of theory, praxis, and, it must be added, production is made most explicit as a philosophical issue by Aristotle, Chapter II attempts to delineate exactly how he understands and divides these three terms. Particularly, how and why he (...) divides knowledge into three branches, the theoretical, practical, and productive, is discussed. ;Chapter III argues that the Aristotelian division of knowledge is prefigured partially in the Platonic dialogues. An extended series of "division passages" is studied to show that such a division is present in Plato but that a glaring difference obtains between him and Aristotle. For Plato the division is consistently twofold and is between theoretical and productive knowledge, or techne as he will usually call it. There is no mention in these passages of a correlate to Aristotle's practical knowledge, namely an "ethics" or a "politics." ;Chapter IV begins to ask why this is the case and what significance this fact has for Platonic thinking in general. It is argued that there is no possibility of a Platonic version of practical knowledge. There is no possibility, as there is for Aristotle, of a theory of praxis. This is essentially a result of the Platonic conception of both techne, the word in his vocabulary most significant of theory, and praxis. Given the conceptual structure of the former, it is impossible for the latter to become an object of a genuine techne. ;Chaper V discusses portions of the Republic. Here, more than anywhere else, Plato does seem to posit a theory of praxis. That such a theory is present is certainly the basis of many, if not most, of the readings of this dialogue. It cannot be denied that a theory of praxis is, in some sense, put forth in the Republic. It is argued here, however, that it is not present as an actual theoretical accomplishment or even as a projection of a future or possible accomplishment. For reasons discussed at length the thesis is maintained that even in the Republic praxis, despite appearances to the contrary, remains an illegitimate object of techne. ;Throughout Chapters IV and V the implications and significance of this thesis are discussed. There is both a negative and a positive pole to this discussion. As mentioned, it is argued that a theory of praxis is impossible for Plato. More positively, the manner in which praxis is prior to and conditions or "surrounds" techne is considered. Techne emerges and is never fully independent from praxis. (shrink)

How can we acquire understanding? Linda Zagzebski has long claimed that understanding is acquired through, or arises from, mastering a particular practical technê. In this paper, I explicate Zagzebski’s claim and argue that the claim is problematic. Based on a critical examination of Zagzebski’s claim, I propose, in conclusion and in brief, a new claim regarding the acquisition of understanding.

This is a brief dictionary entry on the Greek word "techne" (art or skill) as used in ancient Greek philosophy, in particular in the work of Plato and Aristotle. A techne may be a manual craft, such as carpentry, or a science, such as medicine. A techne is based on universal principles and is capable of being taught.

'By identifying the extent to which Aristotle's thinking about ethics was shaped by notions drawn from the crafts Angier has thrown new light on a surprising number of topics and has deepened our understanding of tensions within Aristotle's thought. It is by now a rare achievement to have said something new, true and important about Aristotle.' -- Alasdair MacIntyre, Emeritus Professor of Philosophy, University of Notre Dame, USA.

In Plato’s Gorgias, Socrates argues that philosophy is superior to rhetoric in part because the former is a techne while the latter is not. I argue that the Socratic practice of philosophy within this dialogue fails to qualify as a techne for exactly the same reasons that rhetoric fails to qualify as a techne. In doing so, I introduce a new kind of Socratic ignorance: methodological ignorance. I reject both Charles Kahn’s account of the relationship between the (...) dialogue’s dramatic and philosophical contents, and Thomas Brickhouse and Nicholas Smith’s claim that Socrates never regarded his practice as a techne. (shrink)

En el Gorgias, Platón distingue el modo de ser y actuar propio del filósofofrente al modo de ser y actuar propio del retórico. Para esto, usa comocriterio a la misma retórica a partir de la distinción retórica aduladora – retóricacientífica. Frente a esto, Aristóteles realiza una toma de posición quereformula las críticas platónicas referentes a la posibilidad de una technêretórica. El presente texto confrontara las condiciones que según el Gorgiasdebe cumplir la retórica para llegar a ser technê con las características (...) que,según Aristóteles, tiene la retórica a partir de su relación con la dialéctica. (shrink)

Since the publication of Part I of our joint special issue on Nanotech Challenges (see Techné 8.2 & Hyle 10.2), several international conferences have taken place that brought together scholars from the humanities and the social, natural, and engineering sciences to reflect on the challenges posed by nanotechnology. These included Nanotechnology in Science, Economy and Society , University of Marburg, 13-15 January 2005; Nano-Ethics, University of South Carolina, 2-6 March 2005; Nano Before There Was Nano , Chemical Heritage Foundation, Philadelphia, (...) PA, 18-19 March 2005. In addition, numerous research groups worldwide, who used to investigate the science-technology-society interfaces, have put nanotechnology at the top of their agenda; international expert groups are being formed; and national centers will soon be established in the US and UK. (shrink)

Die Platonische Techne-Analogie hat eine heuristische Funktion. In ihr wird eine bestimmte (vom Verfasser «technisch» genannte) Denkweise sichtbar, die in der platonischen Philosophie durchgehend einflussreich bleibt. Die vorliegende Untersuchung besteht aus zwei Teilen. Der erste Teil analysiert die vielfältigen Strukturen der platonischen Techne-Analogie und bringt die in ihnen wirkende «technische» Denkweise zum Licht. Der zweite Teil behandelt den Einfluss dieser Denkweise auf verschiedene Bereiche der platonischen Philosophie.

In affective neuroscience, constructivist models are acutely influenced by the modern technological evolution, which underwrites an ongoing epistemological substitution of techne for episteme. Evidenced symptomatically in the influence of artificial intelligence (AI), affective artefacts, these models inform an ontological incursion of techne seen to coincide with posthumanist aspirations and anthropology. It is from the perspective of this neuroscientific techne that posthumanism views the human being as increasingly ill adapted to the modern technological civilization, which, conversely, is understood (...) to require a technical governance of the sort envisioned through AI. Among the projects thought necessary for implementing this framework is a recasting of the human emotional spectrum. Revealed through its techne recasting, however, are explanatory commitments to a metaphysic of extrinsic and contiguous causes, where malleability is ontologically constitutive. Aligned with posthumanist assertions malleability is invoked to argue for a rapid advance of the human form, normatively driven by enlightenment ideals. The ontological claim, however, dispenses with the stability of an a priori, intersubjective and interrelational metaphysical form that undergirds the emotions, leading to the collapse of a definitional anthropos. This paper will argue that techne models of the emotions selectively endorse philosophy of science commitments, thereby introducing a normative inversion that deconstructs the notion of anthropology pursued in posthumanist aspirations. (shrink)

In support of an interpretation of the techne-analogy not as a doctrine about virtue, but as a dialectical tool employed by the Platonic Socrates, I analyze an atypical example: the 'healthy city' of 'Republic' II. First, I survey the more 'typical' uses of the techne-analogy in Book I, where Socrates seeks to understand justice by comparing it to various 'technai'. Then, I proceed to show that Socrates' Healthy City, essentially an association of craftsmen, is used in a very (...) similar manner to provoke questions about the relation of virtue to knowledge. Finally, I speculate on the kinds of considerations about justice that Socrates tries to draw his interlocutors to by means of the Healthy City, looking backward to Book I and forward to the rest of the 'Republic'. (shrink)

"In techne of giving, Timothy Campbell elaborates a notion of generosity as way of responding to contemporary biopower. Reading films from Visconti, Rossellini, and Antonioni, he both updates their political lexicon while adopting them as models able to push back against neoliberal forms of gift-giving"--.

AbstractThe notion of techné in Husserl’s phenomenology is related to his treatment of the three layers of the “teaching of craft” and the two layers of the science of “life-world.” The superior layer of both is of philosophical significance. Aristotle’s statement in ethics and metaphysics: techné is man-made, but can transit to spontaneity, and then to natural becoming, which manifests physis as the ultimate aim of his philosophical system, enlightens us to notice the following aspects in Husserl’s phenomenology. 1. Pure (...) or formal ethics is of a high-level téchne in the philosophical sense. 2. The concept of life-world leads to transcendental phenomenology. 3. What Ideas II implies – as a technique the method of phenomenology tends to let the pure I and spiritual I as matters appear themselves by the natural attitude – could conduct us to understand the artistic aspect of Husserl’s philosophical theory. (shrink)

A comprehensive discussion of Plato's treatment of techne, which shows that the final goal of Platonic philosophy is nontechnical wisdom. The Greek word "techne," typically translated as "art," but also as "craft," "skill," "expertise," "technical knowledge," and even "science," has been decisive in shaping our "technological" culture. Here David Roochnik comprehensively analyzes Plato's treatment of this crucial word. Roochnik maintains that Plato's understanding of both the goodness of techne, as well as its severe limitations and consequent need (...) to be supplemented by "nontechnical" wisdom, can speak directly to our own concerns about the troubling impact technology has had on contemporary life. For most commentators, techne functions as a positive, theoretical model through which Plato attempts to articulate the nature of moral knowledge. Scholars such as Terence Irwin and Martha Nussbaum argue that Plato’s version of moral knowledge is structurally similar to techne. In arguing thus, they attribute to Plato what Nietzsche called "theoretical optimism," the view that technical knowledge can become an efficient panacea for the dilemmas and painful contingencies of human life. Conventional wisdom has it, in short, that for Plato technical, moral knowledge can solve life's problems. By systematically analyzing Socrates’ analogical arguments, Roochnik shows the weakness of the conventional view. The basic pattern of these arguments is this: if moral knowledge is analogous to techne, then insurmountable difficulties arise, and moral knowledge becomes impossible. Since moral knowledge is not impossible, it cannot be analogous to techne. In other words, the purpose of Socrates' analogical arguments is to reveal the limitations of techne as a model for the wisdom Socrates so ardently seeks. For all the reasons Plato is so careful to present in his dialogues, wisdom cannot be rendered technical; it cannot become techne. Thus, Roochnik concludes, Plato wrote dialogues instead of technical treatises, as they are the appropriate vehicle for his expression of nontechnical wisdom. (shrink)

While it is generally accepted that we need to use our intelligence in order to get what we want, it is thought to be a cardinal error to imagine that by reasoning we can discover what we ought to want. Reason can in no way constrain the choice of ends, it can only constrain the choice of means once an end has been adopted. In Plato's philosophy we find a view strongly opposed to this attitude towards reason. It is widely (...) held, however, that to arrive at a position which is plainly opposed to common sense, Plato must have grossly confused reasoning about means with reasoning about ends. Evidence of this confusion is found in Plato's use of analogies between statecraft and navigation, and between virtue and skill. But the diagnosis of confusion rests on a misunderstanding of how Plato wanted to use the word translated ‘skill’, i.e. ‘ technē ’, and this misunderstanding is shared even by those who see Plato as rejecting the virtue/skill analogy. (shrink)

Informatics is generally understood as a “new technology” and is therewith discussed according to technological aspects such as speed, data retrieval, information control and so on. Its widespread use from home appliances to enterprises and universities is not the result of a clear-cut analysis of its inner possibilities but is rather dependent on all sorts of ideological promises of unlimited progress. We will discuss the theoretical definition of informatics proposed in 1936 by Alan Turing in order to show that it (...) should be taken as final and complete. This definition has no relation to the technology because Turing defines computers as doing the work of solving problems with numbers. This formal definition implies nonetheless a relation to the non-formalized elements around informatics, which we shall discuss through the Greek notion of téchne. (shrink)

The preparation of food and nutrition is a pervasive techne in the classical Greek world. Indeed, food technology may be a defining characteristic of humanity. We begin with a glimpse of a tension in the use of the word techne in relation to the preparation of food in Plato’s Gorgias 462d-e. Turning to the Presocratics, we discern three distinct perspectives on food, those of Empedocles, Anaxagoras, and the treatise Regimen. In Regimen, we find an anticipation of the distinctions (...) made by Plato in the Gorgias passage, and trace some of the implications in what we may call the “food technology” of this treatise that manages to be both philosophical and technically informative. (shrink)

Technology extends human perception and it intervenes in relations to the environment. Life in cities is particularly affected by newest technological developments, and city dwellers are most shielded and disconnected from the natural world by these very same technologies. The term technology stems from the Greek techne, and it refers to an instrumental relation to the world—a manipulation and adaptation of the environment to human needs. However, by intervening in everyday life and modifying relations to the environment, technology also (...) produces new forms of life and is therefore also poetic in the sense of poiesis. It is clearly distinguished from literary works because it opens worlds of possibilities that are not fictional. This makes a reflection on its poeticity all the more urgent, because the large-scale advent of new technologies such as the industrialization or the digitization radically changes the modes of perception and relations to urban environments. Art works like literature absorb and articulate these changes and are therefore useful “strange tools” for putting on display the changing modes of experiencing cities. For instance, industrialization, explosive urban growth and the rapid modernization of cities overwhelmed the senses. In its very form and rhythm, modernist literature performs the fragmented and brisk-paced experience of modernity. The digital age ostensibly promises intelligibility and order, for digital technologies can survey and manage vast amounts of information. Smart cities are designed for this purpose and for offering tailored solutions to the inhabitants’ individual needs. However, data analytics cannot capture the phenomenological quality of lived experience. Art works can, and contemporary literary works put on display urban life-forms characterized by disembodiment and by exhaustive information on any subject that on its own does not translate into any sense of meaning or belonging. (shrink)

My paper addresses a number of questions raised in the Statesman by the Eleatic Visitor’s identification of certain ontological conditions for the existence of art of due measure, and therefore of all the technai. My view is that evidence relevant to these questions can be found in the Philebus, and specifically, in an ontological doctrine presented at 23c–27c. What emerges from an examination of the Statesman and Philebus is a highly developed conception of technê, one that affords a place for (...) such ordinary human activities within the broader framework of Plato’s philosophy. (shrink)

La investigación tiene como objetivo justificar la posibilidad de enfocar la technê aristotélica a la luz de los sentidos del ser del libro VI de la Metafísica de Aristóteles. El texto sostiene que para Aristóteles el objeto de la sabiduría es el ente en cuanto ente y lo que le compete de suyo, es decir, que lo propio de la ciencia suprema no será exclusivamente la sustancia sino el espectro total de la entidad; el autor del texto argumenta que si (...) esto es así, cualquier entidad puede analizarse desde la Metafísica siempre y cuando se busque de tal ente su primer principio y causalidad. El texto avanza a Metafísica VI para mostrar que el estudio de la technê aristotélica se enriquece cuando se mira a la luz de los distintos sentidos de decir el ser que propone Aristóteles en la Metafísica. La autora sostiene que tal posibilidad es una prueba más de que no debe tomarse a la ousía como el primer analogado del ente sino al ente-uno con sus opuestos, concluyendo que este enfoque amplía el espectro de las relaciones entre technê y naturaleza en el pensamiento aristotélico. (shrink)

This paper discusses the interpretation of Charmides 164Dff. given by John Gould in The Development of Plato's Ethics. Gould claims that in this passage Plato wishes to indicate that he wants to delimit or qualify Socrates' analogy between morality or virtue on the one hand and art or craft (technē) on the other. Plato does this, supposedly, by showing us the unacceptable consequences which follow from assuming a complete analogy between morality and technē. I argue that this interpretation conflicts with (...) the text, which seems to indicate that the root of whatever problems occur in the dialectic is not the technē analogy, but rather that the analogy is not being applied strictly enough. In particular, I try to show that the failure of Critias' definition of temperance is due, in large measure, to his failure to specify an object for the knowledge which he asserts is equivalent to temperance. (shrink)

In the history of philosophy, the opposition between epistēmē and téchnē has been conventional. Whether Plato or Aristotle is interpreted, or whether Archimedes, Ctesibius, Philo of Byzantium or Heron of Alexandria are revised, there is a marginalization of the téchnē as compared to the epistemic hierarchy of pure thought . I propose a different interpretation of an archaeological and genealogical nature, according to which an epistēmē in the téchnē and a téchnē in the epistēmē could be postulated.The inquiry begins with (...) a reading of sources making use of etymology as a hermeneutic téchnē . The Hippocratic treatises have been used as the principal primary source. (shrink)

This essay re-problematises the Aristotelian concept of techne in terms of the mathematical function to demonstrate the centrality of agency in technics. This schema animates computational theory as an agential operator or computer, to situate agency’s necessity to the technical apparatus and the production of abstract relations.

Resumen En la historia de la filosofía, la oposición entre episteme y téchne ha sido convencional. Ya sea que se interprete a Platón o Aristóteles, o se revisen las invenciones de Arquímedes, Ctesibio, Filón de Bizancio o Herón de Alejandría, hay una marginalidad temática de la téchne frente a la jerarquía epistémica de un pensamiento puro (logis-mós). En este artículo se propone una interpretación diferente, de carácter arqueológico y genealógico, según la cual se podría postular una episteme en la téchne (...) y una téchne en la episteme. La indagación inicia con una lectura de fuentes, recurriendo a la etimología como téchne hermenéutica (o método hermenéutico). Como fuente primaria principal se utilizan los Tratados hipocráticos.In the history of philosophy, the opposition between episteme and téchne has been conventional. Whether Plato or Aristotle is interpreted, or whether Archimedes, Ctesibius, Philo of Byzantium or Heron of Alexandria are revised, there is a margi-nalization of the téchne as compared to the epistemic hierarchy of pure thought (logismós). I propose a different interpretation of an archaeological and genealogical nature, according to which an episteme in the téchne and a téchne in the episteme could be postulated. The inquiry begins with a reading of sources making use of ety-mology as a hermeneutic téchne (or hermeneutic method). The Hippocratic treatises have been used as the principal primary source. (shrink)

The paper aims to investigate the relationship between ἐρωτικὴ τέχνη and ἐλεγκτικὴ τέχνη in Plato’s early dialogues, and especially in the Charmides, through a close exam of the role of ἀντέρως in the dialogical practice and exchanges. In the light of Socrates’ reshaping of the roles of ἐραστής and ἐρώμενος in his view of παιδεία – exemplarily shown in the Symposium – I will analyse some passages of Socrates’ conversations in the Charmides by focusing on the interaction between the one (...) who examines and the one who answers within the elenctic procedure. (shrink)

Abstract:Curiously, Marxist literary and art criticism often historicizes everything but the artist's labor. This essay articulates "techne-Marxism" as a critical standpoint that locates the ontological core of the artwork in conceptual and technical labor. It posits techne as the materialist substrate of art forms often explained away as part of an ideology of bourgeois taste rather than the proper bedrock of a Marxism that avoids alienating labor in a symptomology of historical structure. Ultimately, the value of techne-Marxism (...) is its ability to synthesize socially objective knowledge about art and the critic's ability to build labor-oriented evaluative judgments out of that knowledge. (shrink)

Does the idea of human enhancement presuppose a goal or an ideal to direct technological modifications? In the absence of such an agreed ideal in today’s culture, can Christian theology help clarify the goal or the meaning of “perfection” when applied to human beings? A theological perspective rooted in scripture and in the writings of theologians such as Irenaeus, Athanasius, and Gregory of Nyssa suggests that theology instead of offering its own definition of the human ideal, theology rejects the possibility (...) of any defined human goal. An analysis of the biblical word teleios (“mature” or “perfect”), along with Gregory’s view of infinite ascent, leads to the conclusion that the human goal is found in relationship to the triune God and not in any anthropologically-definable status. (shrink)

RESUMO: Ao associar governo à téchne, Trasímaco estabelece que o governo também exige um conhecimento específico. Esse saber permitiria que o governante pudesse beneficiar-se dos governados, tirando proveito deles. Em sua definição de governo, ele aproximará essa téchne do governo ao governante injusto, mais especificamente o tirano. Neste trabalho, pretende-se analisar a relevância dos argumentos de Trasímaco para a filosofia política. ABSTRACT: By associating government with téchne, Thrasymachus states that government requires specific knowledge. This knowledge allows the ruler to benefit (...) from the governed and to take advantage of them. In his definition of government, he equates this téchne with government by an unjust ruler, specifically that of a tyrant. This article aims to analyze the relevance of Thrasymachus' arguments for political philosophy. (shrink)

This work investigates how ancient philosophers understood productive knowledge or technê and used it to explain ethics, rhetoric, politics and cosmology. In eleven chapters leading scholars set out the ancient debates about technê from the Presocratic and Hippocratic writers, through Plato and Aristotle and the Hellenistic age, ending in the Neoplatonism of Plotinus and Proclus. Amongst the many themes that come into focus are: the model status of ancient medicine in defining the political art, the similarities between the Platonic and (...) Aristotelian conceptions of technê, the use of technê as a paradigm for virtue and practical rationality, technê´s determining role in Platonic conceptions of cosmology, technê´s relationship to experience and theoretical knowledge, virtue as an 'art of living', the adaptability of the criteria of technê to suit different skills, including philosophy itself, the use in productive knowledge of models, deliberation, conjecture and imagination. (shrink)

The objective of this article is to investigate whether the concept of techne is fruitful as a framework to analyze some of the pressing challenges inmodernmedicine. To do this, the concept of techne is scrutinized, and it is argued that it is a concept that integrates theoretical, practical and evaluative aspects, and that this makes it particularly suitable to analyze the complex activity of modern medicine. After applying this technical framework in relation to modern medicine, some of its (...) general consequences are elaborated. In particular, it is argued that the concept of techne is appropriate to address the constitutive role of technology in medicine. Techne thus appears to be as fruitful a philosophical concept today as it was in antiquity. (shrink)

This study tries to show the relation between technê and the ethical sphere in the Ancient Greek through mythology and the philosophical literature. Both in mythology and in the philosophical framework the benefits of technê and the power provided by technê for humanity are emphasized. And technê is considered as competence increases the control of human beings in practical areas. However, the ambiguous character of the human experience related to technê and the morally problematic character of this field is also (...) pointed out in the literature. Because, if not controlled, technê has a potential to turn easily against humanity and to produce things that would harm human beings. At this point, ethical values have a crucial role in the control of technê. Technê as a type of knowledge which gives how to do things and how to control the environment but does not give why something is to be done and cannot give an ultimate goal should be subject to higher spheres in the philosophical framework. Therefore technê is subject to ethical and ultimately metaphysical sphere. (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)

Wie bekannt hat Scheler den Begriff der "phänomenologischen Reduktion" ausdrücklich von Husserl übernommen1, dennoch behauptet in der letzten Schaffensperiode ebenso deutlich, den Terminus "Phänomenologie" vermeiden zu wollen, und tatsächlich verwendet er entweder den Ausdruck "phänomenologische Reduktion" in Anführungszeichen oder den Begriff "Techne der Reduktion". Die These, die ich zu entwickeln versuchen werde, ist, daß es bei Scheler nicht nur eine einzige Theorie der Reduktion gibt und daß, ebenso wie verschiedene Realitätstheorien zu unterscheiden sind, ebenso viele Versuche zu erkennen sind, (...) die das Thema der Reduktion behandeln. Diese Versuche sind in großen Zügen auf zwei "Varianten" zurückzuführen: Die erste Variante ist jene, die wir alle kennen und die Scheler selbst in seiner mittleren Schaffensperiode als "phänomenologische Reduktion" bezeichnet. Die zweite Variante der Reduktion wird von ihm nicht eindeutig bestimmt, und es ist auch schwierig, dafür eine Bezeichnung zu finden. Auf jeden Fall verbindet sie Scheler mit Begriffen wie Sublimierung, Ekstase, Askese, "moralischer Aufschwung", etc.. Um sie von der ersten Variante zu unterscheiden werde ich sie "kathartische Reduktion" nennen, wobei das Wort "Katharsis" im Sinne von Platon gemeint ist. (shrink)

Plato’s treatment of poetry is usually discussed without reference to other contemporary reception of Greek poetry, leading to divergent political or aesthetic accounts of its meaning. Yet the culture of the Greek polis, in particular Athens, is the defining context for understanding his aims. Four distinct points are made here, and cumulatively an interpretation of Plato’s opposition to poetry: on the basis of other evidence, including Aristophanes’ Frogs, that Plato would quite reasonably understand poetry to claim the craft of looking (...) after a city ; that Socrates makes a rival claim that philosophy is the pursuit of this skill; that Plato considers the poets, owing to this rivalry, to aim to exclude philosophy from Athens; and finally, that Plato’s exclusion of poetry from the theoretical just city of the Republic is part of his defence of the possibility of philosophy in Athens. (shrink)

Aquinas’s characterization of sacra doctrina has received sustained engagement addressing its relation to contemporary conceptions of theology and Aristotelian conceptions of science. More recently, attention has been paid to Aquinas’s neo-Platonist influences, and the way they lead him to subvert purely Aristotelian categories. I therefore combine these themes by introducing the first study of whether sacra doctrina counts as a technê in Plato’s sense. After examining how Platonic technê relate to their ergon. epistasthai, gignôskein, and epistêmê and examining sacra doctrina’s (...) relationship to each of these Platonic categories, I suggest that sacra doctrina is an unqualified Platonic technê. (shrink)