This book explores the pervasiveness of poetry's impact on philosophy and, conversely, how philosophy has sometimes resisted or denied poetry's influence.

In this study, Levin explores Plato's engagement with the Greek literary tradition in his treatment of key linguistic issues. This investigation, conjoined with a new interpretation of the Republic's familiar critique of poets, supports the view that Plato's work represents a valuable precedent for contemporary reflections on ways in which philosophy might benefit from appeals to literature.

Now available in paperback, ____The Quarrel Between Philosophy__ ____and Poetry__ focuses on the theoretical and practical suppositions of the long-standing conflict between philosophy and poetry. Stanley Rosen--one of the leading Plato scholars of our day--examines philosophical activity, questioning whether technical philosophy is a species of poetry, a political program, an interpretation of human existence according to the ideas of 19th and 20th-century thinkers, or a contemplation of beings and Being.

Stanley Rosen's latest book is a collection of essays, the first of which gives the collection its title. The essays are undated, presumably as a way of emphasizing their continuity, but are said to "have been written at various times during the past thirty years" ; some of them are published here for the first time. Although most are on Plato, two are on Aristotle, and two on contemporary continental philosophy. The collection displays Rosen's considerable skill at wide-ranging, scholarly, (...) and insightful philosophical interpretation and criticism, in the service of a fundamental concern about the nature and possibilities of philosophy. It is undoubtedly the best introduction to his work as a whole. The following summaries, necessarily inadequate, observe the order in which the essays appear in the book. (shrink)

In Doing What Comes Naturally, Stanley Fish argues on behalf of rhetoric and against philosophy. The latter assumes an independent reality that can be perceived without distortion and then reported in a transparent verbal medium. The former insists that this is impossible. As Fish acknowledges, this debate is a version of the?old quarrel? that has raged since the dialogues of Plato and the orations of the sophists. The present paper first examines how the Greek sophist Isocrates actually formulated (...) the terms of the debate. Then it turns to Plato in order to demonstrate that his treatment of the old quarrel is superior to Fish 's postmodern update. (shrink)

Strauss's critique of Heidegger's philosophy aims at a recovery of political philosophy, which he saw as threatened by Heidegger's radical historicism; for Strauss, philosophy as a whole could not survive without political philosophy, and his return to the classical tradition of political philosophy, while inspired by the work of Heidegger, was directed against what he saw as the nihilism that was its consequence. Here I wish to examine a dimension of Strauss's critique which, though hinted (...) at, remains neglected or unexplored by Strauss: that is, how the critique of Heideggarian historicism should naturally link with Strauss's frequent attention to the issue of the ancient 'quarrel between philosophy and poetry'. It has often been observed by other commentators that through Heidegger's work, philosophy appears liable to be supplanted by contemporary literature, whether poetry or philosophy. As some of Strauss's explicit statements extend his definition of what falls under the category of 'poetry' in the modern age to contemporary novels and poetry, this aspect of Heidegger should have commanded more of his attention. Endurance of the quarrel between philosophy and poetry becomes through the prism of Strauss's work the confrontation of political philosophy with literature, particularly the novel form. It was not so much the rise of modern, non-teleological natural science that threatened the endurance and dignity of philosophy, then, but the rise of modern literature; the critique of historicism, when viewed in the light of the enduring 'quarrel', should lead one to a consideration of a crucial issue which remained oddly neglected, or was only hinted at, by Strauss. (shrink)

At a time when professional art criticism is on the wane, the ancient quarrel between art and philosophy demands fresh answers. Professional art criticism provided a basis upon which to distinguish apt experiences of art from the idiosyncratic. However, currently the kind of narratives from which critics once drew are underplayed or discarded in contemporary exhibition design where the visual arts are concerned. This leaves open the possibility that art operates either as mere stimulant to private reverie (...) or, in the more contentful cases, as propaganda. The ancient quarrel between art and philosophy is that art influences surreptitiously while philosophy presents reasons that invite rational scrutiny. As such, in contrast to philosophy, art would undermine our agency. In July 2017, a group of philosophers gathered at the Art Gallery of NSW (AGNSW), in Sydney, Australia, in the presence of two AGNSW curators to explore the basis of their own experiences of selected artworks. Here, those commentaries are reproduced. Each reveal that objective grounds for an experience of art can be based in the community from which one draws one’s terms of reference. In our commentaries we see the expertise of the respective philosophical communities but other communities of culture or expertise might serve the same purpose and hence resolve the ancient quarrel. Before hearing these commentaries, I explain what is at stake when the ancient quarrel between art and philosophy is understood in contemporary terms. This Issue of the Curator also includes an article on the community-based art criticism that emerges from these commentaries followed by an exhibition review which reveals the incorrigible impulse (also demonstrated in the commentaries) to find the basis for the most apt experience of an artwork. A response by the AGNSW curators completes this issue. (shrink)

This article attempts to offer a critical account of the genealogy of ancient Greek philosophy in its bid to transcend the old ruling mythopoeic culture. With this in mind, emphasis is given more to the speculative character of Greek thought rather than its technical and detailed aspects. In my account of the origin of Greek philosophy, I use Plato’s famous pronouncement (Plato, The Republic, Tenth Book) about the great quarrel between philosophy and poetry as (...) a context to provide my analysis. In dealing with the question at hand, I develop the following interrelated claims. First, Greek philosophy made its appearance in the struggle against the mythical background. Here, even though early philosophy tried to move beyond myth, it did not completely transcend the world of mythology. Second, in dealing directly with the quarrel, I identify two issues (problems) as the basis of the conflict: A) the essence of the divine and B) the nature of the universe. Third, I sum up my article by making the following claims. 1) Greek philosophy took the crucial step in trying to explain the cosmos (world) by introducing a single fundamental principle. 2) The transition from traditional mythology to a rational account of the origin and nature of the universe is not the work of a single thinker but the effort of many philosophers over the generations. 3) A proper account of the transition is best explained if we approach it as a result of the process of “continuity in discontinuity”. 4) Early, Philosophy is not so much about the triumph of reason and science, but the conceptualization and differentiation of mythic cultures. Thus in a way, Greek philosophy emerged along with mythic culture against ‘mythic culture’ at the same time. Keywords: physis, nomos, arche, physiology, aperion, mythology, anthropomorphic. (shrink)

After he was delivered from the necessity of making provision for the flesh in its concupiscence and after tendering his resignation as a professor of rhetoric, St. Augustine was, in the autumn of 386 a.d., eager to explore his newfound Christian faith and prepare for his reception into the Catholic Church. His conversion, momentous though it was, did not so much entail a repudiation of all that he had learned and studied as it did a transformation of what had brought (...) him to the threshold of religious belief. Chief among the spoils of Augustine’s early education was philosophy, which he understood primarily as an all-encompassing love of wisdom and only secondarily as a confederacy of.. (shrink)

Research in the world of Eminescu’s manuscripts has brought again to discussion the bond between culture and creation and, within this, the relation that we are especially interested in, that between Philosophy and Poetry. It is a known fact that the poet studied philosophical works intensely, not solely out of the obligation to prepare for a university career , but mostly because he had the passion for philosophical problems, as it can be concluded from the analysis (...) of his entire poetic work, as well as the exploration of the “hidden world” in his notes books. He knew, most of all, the German Philosophy, as he transposed into Romanian pages from Kant ; but he discovered thinking affinities with the “pessimist philosopher” Arthur Schopenhauer, whom he assumed as a sort of spiritual mentor, relating thus with young Nietzsche, who had declared in his first book, “The Birth of Tragedy from the Spirit of Music”, his veneration towards the same master . Eminescu, however, did not part from Schopenhauer, but took him also as a guide to discovering the old oriental Philosophy, especially the Indian one, that had also inspired the author of “The World as Will and Representation”. Therefore, Eminescu accumulated a rich philosophical culture; but did he also produce Philosophy? (shrink)

This paper addresses the relationship of ancients to moderns by focusing on the “quarrel” between art and philosophy that has led to two articulations of the endof art—one in antiquity, another in modernity: Plato, who expelled the poets from his city on account of art’s irrationality, and Hegel, for whom art was no more the necessary vehicle for truth. Following Giorgio Agamben’s cue in The Man Without Content, I opt for a symptomatic reading of Plato’s condemnation of (...) art, by foregrounding his ambivalence toward poetry. I conclude that, whereas Hegel found poetry wanting, Plato understood poetry’s truth to be tragically excessive. (shrink)

본 논문은 소크라테스의 아크라시아 불가능성 테제와 이를 수정하고 극복하여 아크라시아의 성립 가능성을 옹호하는 아리스토텔레스의 아크라시아론 각각이 고대 그리스 비극의 철학적 가치에 관한 두 철학자의 양립 불가능한 태도와 밀접한 연관이 있다는 것을 논증하는 데에 그 목적이 있다. 이에 관한 일련의 논의의 출발점은 플라톤이 어떤 정치적인 의도에서 일상의 경험에 배치되는 아크라시아 불가능성 테제를 역설하고 있는지 그리고 어떤 이유로 아리스토텔레스가 플라톤의 논변을 정면으로 반박하면서 아크라시아의 성립 가능성을 항변하게 됐는지에 대한 지적 호기심이다. 우선 플라톤의 논변과 관련하여 구술 문화와 문자 문화라는 보다 폭넓은 인류학적 전통에서 (...) 철학과 시(詩) 사이의 오랜 불화라는 플라톤의 정치 철학적 관점에서 소크라테스의 아크라시아 부정 테제에 대한 탐구를 시도할 것이다. 이를 통해 아크라시아의 원인이 무지라는 그의 주장이 사실상 아크라시아 현상을 옹호했던 시(詩)에 대해 플라톤이 가했던 주지주의적 철퇴임을 밝힐 것이다. 다음으로 플라톤과 대조적으로 아크라시아의 성립 가능성을 견지했던 아리스토텔레스의 논증을 추적할 것인데, 그가 앎과 무지의 성격 각각을 규명하고 무지가 발생하게 되는 기제를 면밀하게 파헤침으로써 플라톤의 아크라시아 개념을 수정할 뿐 아니라 이를 새로운 차원에서 재정립시키고 있다는 점을 부각시킬 것이다. 왜냐하면 앎의 소유와 활용, 개별 전제의 활성화 문제 그리고 완전한 지식의 소유 여부 등에 대한 후속 논의를 통해 그는 아크라시아적 행동을 유발시키는 원인으로 욕구와 같은 감정을 지적함과 동시에 숙고를 거쳐 참된 앎을 갖고 있어도 구체적인 상황에서 감정에 이끌려 도덕적 행위에 실패할 수 있는 유약한 부류의 아크라테스 논의를 통해 자신의 아크라시아론을 개진하고 있기 때문이다.BR 이와 같이 플라톤과 아리스토텔레스 각각의 아크라시아론의 의미와 한계를 비교 검토한 후 두 철학자가 아크라시아에 대해 상반된 입장을 갖게 된 이유에 대한 논의가 본격적으로 다뤄질 것이다. 시의 중요 장르인 비극과 그것의 가치를 두고 두 철학자가 취한 상반된 태도를 살펴본 다음, 시에 대한 그 둘의 태도와 각자의 아크라시아론이 상호간에 밀접하게 연관되어 있다는 것을 설득력 있게 주장할 것이다. 전반적으로 시에 적대적이었던 플라톤과 달리, 아리스토텔레스는 비극이 갖는 철학적 가치를 긍정적으로 수용했다는 데서 이성과 감정에 대한 두 철학자의 태도가 극명하게 갈리기 때문이다. 의식의 진화에 대해 말하자면, 구술성과 그것에서 연원하는 문자성의 성장 둘 다가 반드시 필요하기 때문에 플라톤을 넘어서 철학과 시 둘 다를 수용하는 아리스토텔레스의 혜안이 더욱 빛을 발하게 될 것이다. 탈진실 시대에는 이성이란 악기 독주자가 지휘자도 겸한 상태에서 감정이나 욕구 등과 같은 오케스트라와 경쟁하듯 협력하는 ‘성찰적 절충주의’라는 콘체르토가 더 큰 울림을 줄 것이기 때문이다. (shrink)

In order to grasp the distinctive character of the object imitated in tragedies, Aristotle's Poetics introduces a new notion of action, which does not refer to individual ethical deeds as in the Ethics. Rather, it signifies a whole with a beginning, a middle, and an end, whose constitutive components are events. This paper argues that the notion of agents undergoes a parallel transformation in the treatise on poetry. It no longer refers exclusively to the authors of ethical deeds, but (...) to the characters who enact the entire dramatic action. Their nature can be understood in terms of a potential story whose logos is a muthos. On this ground, the suggestion is made that the Poetics provides the elements of a narrative conception of human identity. (shrink)

The book explores three specific areas: the practice of writing with respect to orality; the interpretive modes of poetic and philosophical discourse as self ...

Perhaps nowhere in the broad expanse of types of film is the old “quarrel between philosophy and poetry” more evident—and also more vitally relevant—than in the genre or mode of film known as documentary. Documentary film is just another form of poetic imitation, in its variety of instances and complexity of fabrication, it is just as much caught up with the limitations—and effects—of mimetic art, including fiction film. This book affords a prismatic perspective on documentary cinema, (...) inviting the dynamism and diversity of the arts, humanities, social sciences, and even natural sciences together into a shared conversation. (shrink)

Called the “greatest philosophical essayist of his time,” Rorty is both famous and notorious in academic philosophy for his uniquely engaging writing style. While his fellow analytic philosophers look askance at his flamboyant prose, suspicious that it lacks the care and precision that their discipline demands, literary intellectuals who champion the essay genre can have their qualms about Rorty as well: his work is too professional and specialized to be properly called essays. I argue not only that Rorty's work (...) fits into the essay genre, but also that his use of the essay form is integral to his rhetorical project of advancing his ideal of pragmatic liberalism. Rorty writes essays because the essay is a pragmatic literary genre: it is anti‐essentialist, conversational, and experimentalist and provocatively aims at “breaking the crust of convention,” in Dewey's phrase. Using the essay, Rorty “joshes” us to becoming more pragmatic and, therefore, better liberals. (shrink)

This article concerns the ‘ancient quarrel between philosophy and poetry’. With the guidance of Leo Strauss, and with reference to French cultural anthropology and the Hebrew Bible, I offer close readings of the origin myths told by the characters of Aristophanes in Plato’s Symposium and Socrates in book 2 of the Republic. I contrast Aristophanes’ prudential and political esotericism with Socrates’ pedagogical esotericism, connecting the former with poetry’s affirmation of the primacy of chaos and the (...) latter with philosophy’s openness to the measures of nature or phusis. Aristophanes regards the political poetry of Olympianism as a necessary corrective of original human disorder, while Socrates traces the sickness of souls and cities to an excess of poiēsis, ‘poetry’ or ‘production’ in all of its cultural and material senses. The quarrel between Socrates and Aristophanes illuminates fundamental questions that were of central concern to Strauss: What is the status of nature? Must we orient ourselves by the forceful impressions of culture, or can we make out natural standards of how to live? Is war the primary human condition, or peace? Are human beings essentially erotic, or thumotic? Is philosophy an expression of reckless boldness, or of saving moderation? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Ancient Quarrel Revisited:Literary Theory and the Return to EthicsJoseph G. KronickThe modern quarrel between theory and practice, like the ancient one between philosophy and poetry, is at once a practical one—at its heart is the question how we should live—and a pedagogical one—who or what is the proper teacher of virtue? Today, the quarrel is between theory and literature rather (...) than between philosophy and poetry, a change that has not been beneficial. The modern complaint against the abstractions of theory reflects a diminution in the quality of the argument. For the ancient Greeks, to ask about the virtuous life was to inquire into what it is to be human, for aretê, which is typically translated as "virtue," but is understood to mean "excellence" or "goodness," meant acting in accordance with what it is to be fully human. 1 The notion that "real issues," as one prominent theorist argues, belong to the realm of action and epistemological and ontological questions to the abstract realm of theory is a simplification of the more serious question of the relation of particulars to universals. It reverses the Platonic and Aristotelian hierarchy that makes thinking the highest form of activity. But something else is going on in this call to action: in denigrating thinking as abstract, it elevates doxa, opinion, in its place. Under the regime of doxa, two things occur: philosophy and poetry are looked upon as useless because utility becomes the criteria for measuring value, and singularity is looked upon with disdain, if it is, indeed, acknowledged at all, because to the extent the world as it appears is common to us all, doxa is not distinct or individual but uniform or the same. Philosophy and poetry share not only the stigma of being deemed useless, but they are dismissed as odd, singular, not common.This essay is concerned with the status of the singular in philosophy [End Page 436] and poetry. The ancient quarrel has not been settled, which may indeed be a good thing because the quarrel keeps alive the question, who is to speak for that which cannot be spoken of, the singular? Silence may be the appropriate response, yet to preserve the experience of that which resists language is the task of philosophy and poetry, hence the quarrel. A long tradition has it that the philosopher seeks universals, while the poet offers particular images of virtue, but at the heart of this argument over ethics is the question of how to account for the singular or unique. To do so, I turn to Socrates, whose singularity remains unaccounted for to this day.Socrates may be said to embody the very problem of the relation between philosophy and literature, for he left us no writings and exists for us primarily through the writings of Plato. Yet there is widespread acceptance of Plato's portrait of him, particularly as to Socrates' method, the elenchus, and his principle of the priority of definitions. However, Socrates' insistence upon the priority of definition is not an example of the philosopher elevating theory over experience but a practical issue involving the care of the self. Furthermore, in ancient Greece, moral and philosophical questions concerning the soul were as much the provenance of poetry as they were of philosophy. The search for truth is a practical matter concerning the conduct of life, but the Platonic philosopher wishes to give a rational account, or logos, that would link conduct to knowledge, whereas the poet's examples are bound to their representations. Nevertheless, to presume that Socrates was seeking a definition of virtue on the grounds that possession of the definition would translate into a good life is an absurdity, for he could never have sought after the knowledge of virtue if his mode of life depended upon the definition rather than on his character. 2The error is to accuse Socrates of placing abstract knowledge before virtuous conduct. When Socrates asks for a definition of the beautiful, for instance, he does not reject the answer, "the beautiful is a beautiful woman," because it confuses a particular with a universal (when compared to the beauty of the gods, the woman is... (shrink)

Scholars have recently argued that in the Symposium Plato is critical of Socrates and falls closer than his philosophic spokesman to the side of poetry in the old quarrel between philosophy and poetry. Contrary to such interpretations, I argue that on the basis of his experience of a philosophic life, Socrates responds to the poets Plato presents in that dialogue, offering a superior understanding not only of Love but of poetry itself. Far from self-sufficient, (...) but like Love “dwell[ing] always in need” and generating through teaching, Socrates both requires and supports political life. The state between poverty and resource that accounts for the pursuit of wisdom and its self-generation through questioning others also accounts for the ongoing human activities that keep political communities alive and flourishing. At issue is not simply Plato’s attitude toward Socrates, but the very nature of philosophy and its relation to the political community. (shrink)

The ancient quarrel between philosophy and poetry has a parallel in an equally ancient dispute between philosophy and history. Which is to be the great teacher, ideas, words, or deeds? In the education of the human race, particularly for political life, are we to think of the state as an ideal concept, as a work of art, or as an achievement of a person of action? These themes have exercised political thinkers as old as (...) Plato and Aristotle and as modern as Hobbes and Hegel, as well as perhaps the first modern, Niccolò Machiavelli. The issues of power, reason, and language, raised again and again in his masterpiece, The Prince, are equally central to the longer, less often read, but no less profound work, the Discourses on Livy, here given a loving and lucid translation, with a perceptive and helpful introduction, notes, glossary, and index. The Prince, usually taken as recommending absolute and ruthless individual sovereignty, is presumed to be the characteristic work of its author. The Discourses, with its recommendation of virtue and republicanism, on the other hand, is thought of as an inconsistent extravagation from the true Machiavellian position. However, as the translators make clear, this is textually and conceptually foreign to the facts. Machiavelli perhaps emphasizes the one set of values in the shorter book, and the other in the longer, but both are necessary to a full picture of his thought. The political problem for Machiavelli is balancing force with freedom. The unity of states is effected by force, their diversity by freedom. There is a problem of the one and the many in political theory as there is in other branches of philosophy. (shrink)

Comparative political theory is at best an embryonic and marginalized endeavor. As practiced in most Western universities, the study of political theory generally involves a rehearsal of the canon of Western political thought from Plato to Marx. Only rarely are practitioners of political thought willing (and professionally encouraged) to transgress the canon and thereby the cultural boundaries of North America and Europe in the direction of genuine comparative investigation. Border Crossings presents an effort to remedy this situation, fully launching a (...) new era in political theory. Thirteen scholars from around the world examine the various political traditions of West, South, and East Asia and engage in a reflective cross-cultural discussion that belies the assumptions of an Asian "essence" and of an unbridgeable gulf between West and non-West. The denial of essential differences does not, however, amount to an endorsement of essential sameness. As viewed and as practiced by contributors to this ground-breaking volume, comparative political theorizing must steer a course between uniformity and radical separation--this is the path of "border crossings.". (shrink)

Beyond the Ancient Quarrel brings together contributions from leading scholars to explore the boundaries between literature, philosophy, and literary criticism in the work of J.M. Coetzee.

V.1 Re-establishing an initial union among philosophy, science, and wisdom by recovering our understanding of philosophy, science : how philosophy, science, is, and always has been, chiefly a study of the one and the many -- v.2. An introduction to ragamuffin Thomism.

In this introductory chapter, we discuss some recent theoretical approaches to the relations between Western Philosophy and Literary Modernism, and at the same time, we get back to some classic contrasts drawn between the two creative enterprises in the foundational texts of each tradition, which make them seem irreconcilable. Recent rapprochements made by commentators on twentieth-century philosophy and the cultural breakthrough of Modernism in the last decade of the nineteenth-century have insisted on a disenchanted rupture with (...) all kinds of metaphysical worldviews, which had theretofore played a stabilizing role in human beings’ lives and in Western societies at large. Usually this demystifying gesture is associated with a concentration of theoretical attention on the role played by language itself. In terms of the development of philosophical methods in the twentieth-century, this has been especially associated with the so-called ‘linguistic analysis’. You could conceive of the linguistic turn as a new metaphysical framework. This framework would equally encompass the whole of reality in a single, unifying principle. In this book we mean to avoid this essentialist worldview by drawing on highly differentiated resources from human language itself, be it poetry, the novel, the theatre or the plastic arts. (shrink)

In this paper we analyse some ethical and philosophical questions related to the development of memory enhancing drugs (MEDs) and anti-dementia drugs. The world of memory enhancement is coloured by utopian thinking and by the desire for quicker, sharper, and more reliable memories. Dementia is characterized by decline, fragility, vulnerability, a loss of the most important cognitive functions and even a loss of self. While MEDs are being developed for self-improvement, in Alzheimer’s Disease (AD) the self is being lost. Despite (...) this it is precisely those patients with AD and other forms of dementia that provide the subjects for scientific research on memory improvement. Biomedical research in the field of MEDs and anti-dementia drugs appears to provide a strong impetus for rethinking what we mean by ‘memory’, ‘enhancement’, ‘therapy’, and ‘self’. We conclude (1) that the enhancement of memory is still in its infancy, (2) that current MEDs and anti-dementia drugs are at best partially and minimally effective under specific conditions, (3) that ‘memory᾿and ‘enhancement᾿are ambiguous terms, (4) that there is no clear-cut distinction between enhancement and therapy, and (5) that the research into MEDs and anti-dementia drugs encourages a reductionistic view of the human mind and of the self. (shrink)

This study presents a full-length interpretation of two Platonic dialogues, the Theaetetus and the Sophist. The reading pursues a dramatic motif which I believe runs through these dialogues, namely the confrontation of Socratic philosophy, as it is understood by Plato, with the practise of sophistry. I shall argue that a major point for Plato in these two dialogues is to examine and defend his own Socratic or dialectical understanding of philosophy against the sophistic claim that false opinions and (...) statements are impossible, a claim which undermines the point of Socratic conversation. As this claim in PlatoÕs view rests on a certain understanding of Heraclitus and Parmenides, the confrontation with the sophists implies a confrontation with these two Presocratics as well. This defence of dialectical philosophy takes place, dramatically, at the crucial time when Socrates is publically accused of impiety and of corrupting the youth of Athens, the Theaetetus right before he first faces the accusation, the Sophist on the following day. I shall argue that this fact is important in understanding the argument of the two dialogues. (shrink)

Peter Kivy presents a fascinating critical examination of the two rival ways of understanding instrumental music. He argues against 'literary' interpretation in terms of representational or narrative content, and defends musical formalism. Along the way he discusses interpretations of a range of works in the canon of absolute music.