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Clitophon's Challenge and the Aporia of Socratic Protreptic* Teruo Mishima
Clitophon’s Challenge and the Aporia of Socratic Protreptic* Teruo Mishima Before I discuss the text in detail, I would like to briefly sketch the main line of arguments in the Clitophon which I am going to take up, just for the sake of anamnēsis of the readers : In the opening scene Socrates speaks to Clitophon in the third person and tells him that he heard from somebody else that Clitophon, in his conversation with Lysias, has criticised Socratic diatribai (pursuits), whereas he has lavishly praised his synousia (association) with Thrasymachus. Taking Socrates’ words as a sort of disguised criticism or complaint, Clitophon answers that the story was only half true, because although he did on the one hand criticise Socrates, he also on the other hand highly praised him. Then, he explains to Socrates why he must take such an ambiguous attitude towards him. In the first half of his speech he focuses on the aspect of Socratic teaching which he admires unreservedly, namely Socrates’ protreptic speech towards virtues. Here he refers to a lot of Socratic dicta which remind us of well known passages in the early dialogues of Plato. By contrast, in the latter half Clitophon explains where his deep frustration with Socrates lies. He says that, being already converted by Socratic protreptic and resolved to pursue virtues, what he expects now from Socrates is “what comes next”, that is a detailed account of the essence of virtues to be acquired and a piece of concrete advice on how to acquire them. But to these - Clitophon complains - neither Socrates’ company nor Socrates himself gives any convincing answer. -
Rethinking Athenian Democracy.Pdf
Rethinking Athenian Democracy A dissertation presented by Daniela Louise Cammack to The Department of Government in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the subject of Political Science Harvard University Cambridge, Massachusetts January 2013 © 2013 Daniela Cammack All rights reserved. Professor Richard Tuck Daniela Cammack Abstract Conventional accounts of classical Athenian democracy represent the assembly as the primary democratic institution in the Athenian political system. This looks reasonable in the light of modern democracy, which has typically developed through the democratization of legislative assemblies. Yet it conflicts with the evidence at our disposal. Our ancient sources suggest that the most significant and distinctively democratic institution in Athens was the courts, where decisions were made by large panels of randomly selected ordinary citizens with no possibility of appeal. This dissertation reinterprets Athenian democracy as “dikastic democracy” (from the Greek dikastēs, “judge”), defined as a mode of government in which ordinary citizens rule principally through their control of the administration of justice. It begins by casting doubt on two major planks in the modern interpretation of Athenian democracy: first, that it rested on a conception of the “wisdom of the multitude” akin to that advanced by epistemic democrats today, and second that it was “deliberative,” meaning that mass discussion of political matters played a defining role. The first plank rests largely on an argument made by Aristotle in support of mass political participation, which I show has been comprehensively misunderstood. The second rests on the interpretation of the verb “bouleuomai” as indicating speech, but I suggest that it meant internal reflection in both the courts and the assembly. -
Silencing the Female Voice in Longus and Achilles Tatius
Silencing the female voice in Longus and Achilles Tatius Word Count: 12,904 Exam Number: B052116 Classical Studies MA (Hons) School of History, Classics and Archaeology University of Edinburgh B052116 Acknowledgments I am indebted to the brilliant Dr Calum Maciver, whose passion for these novels is continually inspiring. Thank you for your incredible supervision and patience. I’d also like to thank Dr Donncha O’Rourke for his advice and boundless encouragement. My warmest thanks to Sekheena and Emily for their assistance in proofreading this paper. To my fantastic circle of Classics girls, thank you for your companionship and humour. Thanks to my parents for their love and support. To Ben, for giving me strength and light. And finally, to the Edinburgh University Classics Department, for a truly rewarding four years. 1 B052116 Table of Contents Acknowledgments………………………………………………………………………….1 List of Abbreviations………………………………………………………………………3 Introduction ……………………………………………………………………………….4 Chapter 1: Through the Male Lens………………………………………………………6 The Aftertaste of Sophrosune……………………………………………………………….6 Male Viewers and Voyeuristic Fantasy.…………………………………………………....8 Narratorial Manipulation of Perspective………………………………………………….11 Chapter 2: The Mythic Hush…………………………………………………………….15 Echoing Violence in Longus……………………………………………………………….16 Making a myth out of Chloe………………………………………………………………..19 Leucippe and Europa: introducing the mythic parallel……………………………………21 Andromeda, Philomela and Procne: shifting perspectives………………………………...22 Chapter 3: Rupturing the -
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon
The Spell of Achilles Tatius: Magic and Metafiction in Leucippe and Clitophon ASHLI J.E. BAKER Bucknell University Eros is “…δεινὸς γόης καὶ φαρμακεὺς καὶ σοφιστής…” (Plato, Symposium 203d) Introduction In the beginning of Book Two of Achilles Tatius’ Leucippe and Clitophon, the clever but thus far failed lover Clitophon witnesses a remarkable – and useful – scene. He passes by just as Clio, Leucippe’s slave, is stung on the hand by a bee. He sees Leucippe soothe Clio’s pain by singing incantations (ἐπᾴδω) she says she learned from an Egyptian woman.1 When Clitophon, determined to woo Leu- cippe, finds himself alone with her on the following day, he pretends that he too has been stung by a bee. Leucippe approaches, asking where he has been stung. In reply, Clitophon says, ————— 1 παύσειν γὰρ αὐτὴν τῆς ἀλγηδόνος δύο ἐπᾴσασαν ῥήματα· διδαχθῆναι γὰρ αὐτὴν ὑπό τινος Αἰγυπτίας εἰς πληγὰς σφηκῶν καὶ μελιττῶν. Καὶ ἅμα ἐπῇδε· καὶ ἔλεγεν ἡ Κλειὼ μετὰ μικρὸν ῥᾴων γεγονέναι. (2.7 - “…she would, she said, stop her pain by chanting two spells; she had been taught by an Egyptian woman how to deal with wasp- and bee-stings. As she had chanted, Clio had said that the pain was gradually relieved.”). All Greek text of Leu- cippe and Clitophon is that of Garnaud 1991. All translations are cited, with occasional alterations, from Whitmarsh 2001. I want to give special thanks to Catherine Connors for her insightful comments throughout the drafting of this paper. Thanks too to Alex Hollmann and Stephen Trzaskoma for feedback on earlier versions of this project. -
Euanthes and the World of Rhetoric in Achilles Tatius' Leucippe And
Euanthes and the World of Rhetoric in Achilles Tatius’ Leucippe and Cleitophon KATHERINE A. MCHUGH The University of Edinburgh In Book Three of Achilles Tatius’ Leucippe and Cleitophon there is an ekphrasis of a painting, one of three within the entirety of the novel. The description takes place after the protagonists’ arrival at Pelusium, as they happen upon the Temple of Zeus and come across “double images” (εἰκόνα διπλῆν, 3,6,3) which have been signed by the artist Euanthes (3,6,3).1 The main aim of this article is to consider the name of this artist, as opposed to the painting itself; it seeks to prove that Euanthes was not a real figure, but a name created by Achilles which is imbued with rhetorical references in keeping with the intellectual climate of 2nd Century AD Greek literature. The name Euanthes and its possible rhetorical connotations will be explored in conjunction with a detailed consideration of Achilles’ use of ekphrasis throughout Leucippe and Cleitophon and his interest in rhetorical edu- cation in order to assert that some of the author’s playful in-jokes have been un- derstudied, and that they can provide us with a clearer picture of how the author strives to appeal to his reader; that is, a reader who is steeped in a rhetorical edu- cation himself. The article also considers the other two ekphraseis of paintings in Leucippe and Cleitophon (which occur in Books One and Five) in order to aid with an understanding of Achilles’ use of the rhetorical technique and how sig- nificant rhetoric is to his novel as a whole. -
Clitophon and Socrates in the Platonic Clitophon
Ancient Philosophy 32 (2012) ©Mathesis Publications 1 Clitophon and Socrates in the Platonic Clitophon Christopher Moore The Clitophon shows us a man similar to Socrates in analytic skill, social ease, frankness, and avowed interest in justice. He praises Socrates for bringing people to desire to be just, but criticizes Socrates for not helping them be just, the object of their desire. H gives his experience as an example: having listened to Socrates he desires justice, but does not know how to be just. Readers have often accepted both the cogency of and warrant for Clitophon’s criticism. But details of the dia - logue undermine both. Its characterization of Socrates shows that desiring to be just, considered robustly—recognizing one’s ignorance, listening to other views, and trying to learn about the good—is much the same as being just, and so Socrates cannot be faulted for merely inculcating the desire. And though Cli - tophon has heard Scorates speak and is interested in justice—especially in find - ing some apt formula—he has not listened closely to Socrates, and therefore has not allowed himself to be brought fully into desiring to be just. Therefore, he fails, both theoretically and personally, to understand Socrates’ efforts, and so his criticism fails too. The dialogue begins with Socrates reporting a rumor. He heard that Clitophon disparaged their time together but raved about his time with Thrasymachus. Cli - tophon calls this rumor mistaken. Far from disparaging their time together, Cli - tophon says, he lauded much about Socrates. He asks leave to speak frankly. He wants to give a fuller report about what he actually said to Lysias, the source of the rumor. -
Plato and Socrates
Book Notes Plato and Socrates CHRISTOPHER ROWE Simon Slings’s Plato: Clitophon 1 has an introduction of 234 pages, a new text with facing translation (pp. 240-59), 72 pages of commentary (in a smaller font), two short appendixes, bibliography and indexes. It is a fuller treatment than this tiny text has ever received, and probably will ever receive; some might say that it also fuller than the Clitophon deserves, but if they did, they might well change their mind afterinspecting the volume itself, which covers amultiplicity of issues whether grammatical, syntactical, historical, philosophical, or more generally interpretative in meticulous detail, providing a mass of material that will bene t (or at any rate interest) anyone working on the Platonic corpus and/or fourth cen- tury Greek literature. The Commentary in Plato: Clitophon is not quite, as its dust-jacket claims, ‘the rst ever to be published in English’: the volume as a whole is still, as Slings says, recognizable as A Commentary on the Platonic Clitophon , his doctoral dis- sertation, privately published in 1981 (he generously sent me my copy years ago, in response to a letter out of the blue). One of the major di erences is obvious from the change of title: ‘... I now feel that the grounds for my doubts [about the authenticity of the Clitophon] are rather weak, and I have no compunction in presenting this revised version as Plato: Clitophon ’ (pp. x-xi). 2 But Slings is at 1 S.R. Slings, Plato,Clitophon. Edited with Intr oduction,Tra nslationa ndComment- ary by S.R.S. -
Dissertation
DISSERTATION Titel der Dissertation „Studies in the Prosopography of the Four Hundred Oligarchy in Athens 411 B.C.” Verfasser Nikolaos Karkavelias angestrebter akademischer Grad Doktor der Philosophie (Dr. phil.) Wien, 2014 Studienkennzahl lt. Studienblatt: A 792 310 Dissertationsgebiet lt. Studienblatt: Alte Geschichte und Altertumskunde Betreuer: ao. Univ.-Prof. Doz. Mag. Dr. Herbert Heftner Contents Acknowledgements 3 Abstract 4 Introduction 5 Alexicles 25 Andron 42 Archeptolemus 57 Aristarchus 79 Aristocrates Skelliou 89 Cleitophon 124 Dieitrephes 147 Laispodias Andronymios 162 Melesias 178 Onomacles 181 Phrynichus Stratonidou Deiradiotes 188 Theramenes Hagnonos Steirieus 250 Thymochares 272 Appendix 1: Was Hippodamus of Miletos Archeptolemus father? 279 Appendix 2: The prytany and archon year of 412/11 295 Appendix 3: The chronology of Peisander’s mission to Athens re-visited: Thucydides 8.53-54 297 Appendix 4: εύθύς in Thucydides 316 Appendix 5: Beyond the Four Hundred 317 Afterthought: The social origin of the known members of the Four Hundred and their motives for joining the movement 319 Bibliography 324 Vita 354 2 Acknowledgements I am extremely grateful to Dr. Christos Zapheiropoulos for his warm support and encouragement back in 1997 to undertake the long project that this thesis has proven to be. During my studies at the University of Vienna I was fortunate enough to attend classes of professors Fritz Mitthof, Thomas Corsten, Bernhard Palme and Walter Pohl; they became my mentors and guides to the marvellous world of antiquity and I very much thank them for this unforgettable experience. I am deeply indebted to my supervisor Herbert Heftner for the enthusiastic welcoming and all the unconditional support and help which he so lavishly has offered to me all these years. -
Thrasymachus and the Order of Pleonexia
Aporia vol. 19 no. 1—2009 Thrasymachus and the Order of Pleonexia BRENNER FISSELL Throughout the Platonic corpus, one finds that Socrates spends much of his time engaged in dialectic with the sophists. Among the most famous of these characters is Thrasymachus, the character who dominates the first book of The Republic. Thrasymachus’s world view is a topic of heated disagreement among scholars. Many different interpretations have been proposed, some at complete odds with others. In this paper I will briefly explain some of these interpretations, and then advance my own. I believe that Thrasymachus’s doctrine is driven by the primacy of self-interest (ple- onexia). This pleonexia is not seen as a vice, but is in fact the predominant force that guides human existence. This creates an order in which the stron- gest thrive and the weak die off, which is the way Thrasymachus believes things should be according to the ways of the universe. Thrasymachus goes beyond inconsistency, descriptive observation, legalism, and amoralism; he is an immoralist. Before turning to my own exegesis, it is useful to look at what others have been saying about Thrasymachus. One view that has been put for- ward is that Thrasymachus in fact makes no consistent argument. Joseph Maguire is the most notable proponent of this interpretation. He narrows down Thrasymachus’s doctrine to contain three propositions regarding justice: the advantage of the stronger, obedience to laws, and the good of another (Maguire 143). The crux of his argument is that the third state- ment cannot be reconciled with the first two. -
Naïve Justice in the Ancient Greek Novel
Ethics in Progress (ISSN 2084-9257). Vol. 7 (2016). No. 2, Art. #3, pp. 14-30. Doi: 10.14746/eip.2016.2.3 Naïve Justice in the Ancient Greek Novel Bruce D. MacQueen (University of Tulsa ) , [email protected] 1. Introduction It is admittedly a commonplace, but probably a useful one, to begin a philosophical discourse by dividing the problems into three main areas of inquiry: ontology, epistemology, and ethics. This division is usually attributed to the Greeks, but it is no easy task to trace it to its origins. Applying it to the dialogues of Plato might or might not shed some light on some of the dialogues and their arguments, but in many ways it seems an unnecessary distraction, especially since Plato seems bent, generally, on synthesizing the philosophical enterprise into a coherent unity. Aristotle, the perpetual analyst, in the course of discussing some problems related to dialectic, makes an important contribution to this general problem, in order to render more manageable the specific problem under discussion:Ἔστι δ´ ὡς τύπῳ περιλαβεῖν τῶν προτάσεων καὶ τῶν προβλημάτων μέρη τρία· αἱ μὲν γὰρ ἠθικαὶ προτάσεις εἰσίν, αἱ δὲ φυσικαί, αἱ δὲ λογικαί. Ἠθικαὶ μὲν οὖν αἱ τοιαῦται, οἷον πότερον δεῖ τοῖς γονεῦσι μᾶλλον ἢ τοῖς νόμοις πειθαρχεῖν, ἐὰν διαφωνῶσιν· λογικαὶ δὲ οἷον πότερον τῶν ἐναντίων ἡ αὐτὴ ἐπιστήμη ἢ οὔ· φυσικαὶ δὲ οἷον πότερον (105b25) ὁ κόσμος ἀίδιος ἢ οὔ. It is possible to distinguish by type three kinds of questions and problems: some are ethical questions, some are physical, some are logical. Ethical questions are such as this, whether one ought to listen to one’s parents or to the law, if they are at odds; logical questions are such as this, whether the knowledge of opposite things is the same, or not; physical questions are such as this, whether the universe is unending, or not (Topics 105b19-25, translation mine). -
1 the Dramatic Background of the Arguments with Callicles, Euripides
1 The Dramatic Background of the Arguments with Callicles, Euripides’ Antiope, and an Athenian Anti-Intellectualist Argument Introduction This paper does not aim to establish the ‘dramatic date’ of Plato’s Gorgias, nor does it seek to establish with any precision the date at which Euripides’ fragmentary Antiope was written. Nor does it aim to show that Athenian anti-intellectualism had some fixed beginning and conclusion rather than persisting, in some fashion, as long as intellectuals frequented its public places. It does, however, have aims that may easily be mistaken for these. While Plato was not too particular about fidelity to a dramatic date,1 he frequently shows a strong desire to supply an intellectual background for the views that his characters will propound and the debates that follow from them. In the case of dialogues that employ a single interlocutor that certainly tends to produce a reasonably coherent dramatic date, but what matters to Plato is not so much fidelity to history as the appropriate intellectual context. It is not concerned to argue that Euripides’ play Antiope was performed at a given festival, but it is very much concerned to demonstrate that its status as a post-412 play rests on flimsy foundations and does not agree with important evidence. And it aims to show that a particular kind of anti-intellectual argument, or anti-intellectual rhetoric, one that finds a place both in Zethus’ criticism of Amphion in the Antiope and in Callicles’ criticism of Socrates in the Gorgias, did have a place in public debate in the Athens of the late 420s B.C., and for very good reasons. -
So This Is Love? Translating Plato's Doctrine of Homoerotic
SO THIS IS LOVE? TRANSLATING PLATO’S DOCTRINE OF HOMOEROTIC LOVE INTO THE HETEROEROTIC RELATIONSHIPS OF THE GREEK NOVEL by Carly Rae Hall Thesis submitted in partial fulfillment of the requirements for the Degree of Bachelor of Arts with Honours in Classics Acadia University April, 2016 © Copyright by Carly Rae Hall, 2016 This thesis by Carly Rae Hall is accepted in its present form by the Department of History and Classics as satisfying the thesis requirements for the degree of Bachelor of Arts with Honours Approved by the Thesis Supervisor __________________________ ____________________ Dr. Vernon Provencal Date Approved by the Head of the Department __________________________ ____________________ Dr. Gillian Poulter Date Approved by the Honours Committee __________________________ ____________________ Anna Redden Date ii I, Carly Rae Hall, grant permission to the University Librarian at Acadia University to reproduce, loan or distribute copies of my thesis in microform, paper or electronic formats on a non-profit basis. I, however, retain the copyright in my thesis. _________________________________ Signature of Author _________________________________ Date iii Table of Contents Title Page i Approval Page ii Permission for Duplication Page iii Abstract v List of Abbreviations and Terminology vi Introduction 1 Chapter One: Plato’s Symposium and Phaedrus 3 I. Plato’s Symposium 3 II. Plato’s Phaedrus 17 Chapter Two: Plutarch’s Amatorius 27 I. The Homoerotic Argument 29 II. The Heteroerotic Argument 34 III. Plutarch’s speech 38 Chapter Three: Platonic Love in the Greek Novel 47 I. Achilles Tatius’ Leucippe and Clitophon 48 II. Longus’ Daphnis and Chloe 65 Conclusion 75 Bibliography 77 iv Abstract: This thesis aims to demonstrate the presence of Plato’s homoerotic doctrine of Love, as set out in the Symposium and Phaedrus, in the heteroerotic relationships of the ancient Greek novels, Achilles Tatius’ Leucippe and Clitophon and Longus’ Daphnis and Chloe.