MYTH and ILLUSION: PLATO's REPUBLIC Calling All Who Pretend to Be Philosophersl Calling All Who Pretend to Be Philosophers !
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The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the D
The Politics of Roman Memory in the Age of Justinian DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Marion Woodrow Kruse, III Graduate Program in Greek and Latin The Ohio State University 2015 Dissertation Committee: Anthony Kaldellis, Advisor; Benjamin Acosta-Hughes; Nathan Rosenstein Copyright by Marion Woodrow Kruse, III 2015 ABSTRACT This dissertation explores the use of Roman historical memory from the late fifth century through the middle of the sixth century AD. The collapse of Roman government in the western Roman empire in the late fifth century inspired a crisis of identity and political messaging in the eastern Roman empire of the same period. I argue that the Romans of the eastern empire, in particular those who lived in Constantinople and worked in or around the imperial administration, responded to the challenge posed by the loss of Rome by rewriting the history of the Roman empire. The new historical narratives that arose during this period were initially concerned with Roman identity and fixated on urban space (in particular the cities of Rome and Constantinople) and Roman mythistory. By the sixth century, however, the debate over Roman history had begun to infuse all levels of Roman political discourse and became a major component of the emperor Justinian’s imperial messaging and propaganda, especially in his Novels. The imperial history proposed by the Novels was aggressivley challenged by other writers of the period, creating a clear historical and political conflict over the role and import of Roman history as a model or justification for Roman politics in the sixth century. -
Tragedy, Euripides, Melodrama: Hamartia, Medea, Liminality
Vol. 5 (2013) | pp. 143-171 http://dx.doi.org/10.5209/rev_AMAL.2013.v5.42932 TRAGEDY, EURIPIDES, MELODRAMA: HAMARTIA, MEDEA, LIMINALITY BRIAN G. CARAHER QUEEN’S UNIVERSITY BELFAST, NORTHERN IRELAND [email protected] Article received on 29.01.2013 Accepted on 06.07.2013 ABSTRACT This article examines socio-historical dimensions and cultural and dramaturgic implications of the Greek playwright Euripides’ treatment of the myth of Medea. Euripides gives voice to victims of adventurism, aggression and betrayal in the name of ‘reason’ and the ‘state’ or ‘polity.’ Medea constitutes one of the most powerful mythic forces to which he gave such voice by melodramatizing the disturbing liminality of Greek tragedy’s perceived social and cultural order. The social polity is confronted by an apocalyptic shock to its order and its available modes of emotional, rational and social interpretation. Euripidean melodramas of horror dramatize the violation of rational categories and precipitate an abject liminality of the tragic vision of rational order. The dramaturgy of Euripides’ Medea is contrasted with the norms of Greek tragedy and examined in comparison with other adaptations — both ancient and contemporary — of the myth of Medea, in order to unfold the play’s transgression of a tragic vision of the social polity. KEYWORDS Dramaturgy, Euripides, liminality, Medea, melodrama, preternatural powers, social polity, tragedy. TRAGEDIA, EURÍPIDES, MELODRAMA: HAMARTÍA, MEDEA, LIMINALIDAD RESUMEN Este artículo estudia las dimensiones sociohistóricas y las implicaciones culturales y teatrales del tratamiento que Eurípides da al mito de Medea. Eurípides da voz a las víctimas del aventurerismo, de las agresiones y de las traiciones cometidas en nombre de la ‘razón’ y del ‘estado’ o el ‘gobierno’. -
Response: Hamartia in Greco-Roman Context
“Go and sin no more”? Brad Jersak QUESTION: In your blogpost, Missing What Mark? you mentioned that the traditional understanding of the Greek word translated “sin” is missing the mark. You suggested that the mark in question is not moralistic perfection. Instead, you said, the mark, goal or telos of humanity is union with God. Therefore, sin is not so much law-breaking behavior, but rather, turning away from the loving care of God. Repentance, then, would essentially involve turning from alienation and returning to the Father’s house and reconciling ourselves to his loving care. If I’ve understood you, does this approach still align with the literal sense of hamartia? RESPONSE: First, yes, you’ve understood me perfectly. And simply put, my approach to missing the mark is within the semantic range of hamartia since the word does literally mean missing the mark or to err. The thing is, hamartia never specifies what the mark refers to. A recipe of original context and our preferred theology determine what mark we’ve missed. As for hamartia or any other foreign term, we need to remember that when we translate ancient words, we aren’t using ancient dictionaries. We explore how the word is used in context—or rather, its various contexts over time, since the word may be used in different ways in different times and places. Hamartia is complex because it has multiple uses both within the Bible and elsewhere in Greek and Roman literature. I did some further fact-checking, which itself always warrants double- checking in the primary sources. -
Tragedy After Darwin by Manya Lempert a Dissertation Submitted In
Tragedy after Darwin by Manya Lempert A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Dorothy Hale, Chair Professor Ann Banfield Professor Catherine Gallagher Professor Barry Stroud Summer 2015 Abstract Tragedy after Darwin by Manya Lempert Doctor of Philosophy in English University of California, Berkeley Professor Dorothy Hale, Chair Tragedy after Darwin is the first study to recognize novelistic tragedy as a sub-genre of British and European modernism. I argue that in response to secularizing science, authors across Europe revive the worldview of the ancient tragedians. Hardy, Woolf, Pessoa, Camus, and Beckett picture a Darwinian natural world that has taken the gods’ place as tragic antagonist. If Greek tragic drama communicated the amorality of the cosmos via its divinities and its plots, the novel does so via its characters’ confrontations with an atheistic nature alien to redemptive narrative. While the critical consensus is that Darwinism, secularization, and modernist fiction itself spell the “death of tragedy,” I understand these writers’ oft-cited rejection of teleological form and their aesthetics of the momentary to be responses to Darwinism and expressions of their tragic philosophy: characters’ short-lived moments of being stand in insoluble conflict with the expansive time of natural and cosmological history. The fiction in this study adopts an anti-Aristotelian view of tragedy, in which character is not fate; character is instead the victim, the casualty, of fate. And just as the Greek tragedians depict externally wrought necessity that is also divorced from mercy, from justice, from theodicy, Darwin’s natural selection adapts species to their environments, preserving and destroying organisms, with no conscious volition and no further end in mind – only because of chance differences among them. -
The Theodicy of Plato's Timaeus
Georgia State University ScholarWorks @ Georgia State University Philosophy Theses Department of Philosophy 8-10-2021 Reincarnation and Rehabilitation: the Theodicy of Plato's Timaeus John Garrett Follow this and additional works at: https://scholarworks.gsu.edu/philosophy_theses Recommended Citation Garrett, John, "Reincarnation and Rehabilitation: the Theodicy of Plato's Timaeus." Thesis, Georgia State University, 2021. https://scholarworks.gsu.edu/philosophy_theses/298 This Thesis is brought to you for free and open access by the Department of Philosophy at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Philosophy Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. REINCARNATION AND REHABILITATION: THE THEODICY OF PLATO’S TIMAEUS by JOHN GARRETT Under the Direction of Timothy O’Keefe, PhD A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in the College of Arts and Sciences Georgia State University 2021 ABSTRACT Plato wonders why a good God might allow the existence of evil. This problem is especially pertinent to his dialogue Timaeus, in which Plato describes the creation of the cosmos by a benevolent divine craftsman called the Demiurge. A justification for why God allows evil to exist is called a theodicy. Readers of the Timaeus have interpreted the theodicy of this dialogue in many ways. After showing the shortcomings of some common interpretations, I offer a largely original interpretation of the theodicy of the Timaeus. I claim that in the Timaeus evil is caused by conflict between souls, and this conflict is something that the good (but not omnipotent) Demiurge could not avoid. -
Freedom and Responsibility in the Myth of Er
Freedom and responsibility in the myth of Er Author: Marina McCoy Persistent link: http://hdl.handle.net/2345/3019 This work is posted on eScholarship@BC, Boston College University Libraries. Published in Ideas y valores: Revista Colombiana de Filosofia, vol. 61, no. 149, pp. 125-141, September 2012 These materials are made available for use in research, teaching and private study, pursuant to U.S. Copyright Law. The user must assume full responsibility for any use of the materials, including but not limited to, infringement of copyright and publication rights of reproduced materials. Any materials used for academic research or otherwise should be fully credited with the source. The publisher or original authors may retain copyright to the materials. Freedom and Responsibility in the Myth of Er Libertad y responsabilidad en el mito de Er Marina Berzins McCoy* Boston College - USA Abstract Plato uses the myth of Er in the Republic in order to carve out space for political freedom and responsibility for human freedom in the ordinary polis. While much of the Republic concentrates on the development of an ideal city in speech, that city is fundamentally a mythos presented in order for Socrates and his friends to learn something about political and individual virtue. The city in which Socrates and his friends exist is an imperfect city and myth of Er is intended for those audience members. Its emphasis on the necessity for personal responsibility in the midst of freedom can be understood as a political claim about the place of individual choice in a world that is constrained by both political and cosmic “necessity”. -
The Myth of Er As a Rationalizing Recording Device Michael Weinman Bard College Berlin, Germany [email protected]
Volume 12, No 2, Fall 2017 ISSN 1932-1066 The Myth of Er as a Rationalizing Recording Device Michael Weinman Bard College Berlin, Germany [email protected] Abstract: This essay introduces the idea of a rationalizing recording device, a mechanism by which the thoughts and actions of one or more persons are both preserved and made more accessible to reason. Plato's Myth of Er is depicted as being such a device, since its story is cinematic in the contemporary sense. Just as films can affect viewers by making one aware of thoughts that cannot be carried in the medium of the moving image itself, so too does Plato express his thoughts about the telos of the cosmos and the moral judgment one must make when confronted with choosing how to live through the external medium of a moving image. Keywords: Plato; Er; myth; dialectic; poetry; narrative; film-philosophy; representation. Poetry, Myth, and Philosophy moments of Er's tale show how a soul's salvation can be achieved through the recording and reproduction Plato's Myth of Er is best understood as a rationalizing of lives and show what makes this experience recording device, by which I mean a form of recording cinematic in a contemporary sense of the term that is technology that both preserves some person, place, not anachronistic and not metaphorical. The argument or activity and does so in such a way that makes that here rests on an understanding of the cinematic as an person, place, or activity accessible to reason.1 The affection of the soul that is integral to understanding essential character of this kind of recording technology Er's story as expressive of Plato's commitment to the resembles cinematic imagery in the contemporary independent resourcefulness of myth as a form of sense; which does not mean that its formal features poetic, productive discourse that is irreducible to logical are like film but that the experience of the myth is expression, and for this reason carries the distinctive like the experience of film. -
Theatre I Ms. Vernon Catharsis, Hubris, Hamartia, and the Tragic
Theatre I Ms. Vernon Catharsis, Hubris, Hamartia, and the Tragic Flaw Catharsis – the cleansing of emotion – usually tragic – through the artistic experience Catharsis was described by Aristotle in The Poetics. It is the reason we go to scary movies, the reason we are interested in tragedies including murder mysteries and crime shows, is that we need to deal with these emotions. Of course, we’d rather not have to deal with them in real life, so the artistic experience allows us to go through the fear or pity or grief or anger and let it wash through us. We come out as a clean slate after. Hubris – proud behavior in excess; this arrogant behavior indicates a blindness to one’s own flaws Hubris is usually associated with “pride goeth before a fall.” This means that undue pride, the kind that is overboard or blinds you to yourself or others, usually leads to a bad end. In ancient Greek myth Icarus ignored his wise father’s warning and flew to close to the sun and died. That’s hubris Hamartia – the error in judgment that leads to the tragic flaw; an unwitting mistake Hamartia is more complex than hubris. In the twentieth century the tragic flaw began to replace it but there are subtle differences. Hamartia can be traced to a specific moment in which the wrong choice was made - someone doesn’t listen to good advice or trusts the wrong person – and then that leads to the tragic events. Usually the error in judgment is closely related to character, so hamartia and tragic flaw and really intertwined. -
Action and Hamartia in Aristotle's Poetics
E – L O G O S ELECTRONIC JOURNAL FOR PHILOSOPHY/2008 ISSN 1211-0442 Action and Hamartia in Aristotle’s Poetics. Philip Tonner Abstract In what follows we outline Aristotle’s philosophy of tragedy in his Poetics paying particular attention to his account of action and hamartia. We situate his account of tragedy in terms of his ethical philosophy and philosophy of action generally. We argue that tragedy is disclosive of the frailty of the human situation in its precarious contingence. By this, we link Aristotle’s philosophy of tragedy to twentieth century aesthetic, ethical and European philosophy. 1 Introduction. Aristotle’s account of tragedy is intimately connected with his theory of action and his ethical theory. His Poetics was intended to form a central part of his extended inquiry into the nature of human action and happiness. It was his view that in tragedy, the tragic hero falls into misery through a hamartia, a mistake or error, that results in irreparable damage to the life of the protagonist and/or the lives of their loved ones. Hamartia or ‘tragic error’ brings to the fore the fragility and contingence of human flourishing. Thus, in addition to being read as a work of aesthetics the Poetics can be usefully read in terms of Aristotle’s ethical theory and thus ultimately in terms of his account of what it is to be a flourishing human being. If this reading of the Poetics is plausible then Aristotle intended his aesthetics to follow naturally from his ethics. Ethics, for Aristotle, had a much wider determination than it tends to accrue in some contemporary philosophical debate. -
Necessity and Form-Copies: Republic, Timaeus, and Laws [Abstract] Plato's Metaphysics Employs Three Distinct Ontological State
Necessity and Form-Copies: Republic, Timaeus, and Laws [Abstract] Plato’s metaphysics employs three distinct ontological states: Forms, particulars, and form-copies. Fundamentally, Forms are static beings; particulars are dynamic non-beings; form- copies are dynamic instances of being(s). Plato’s metaphysics is met with difficulty when we start to question how exactly form-copies, mixtures of two seemingly incompatible ontological states (Forms and particulars), come into existence. In this paper, I offer an analysis concerning the relationship between Plato’s two cosmological causes (i.e. Reason and Necessity) and form- copy generation. I am chiefly interested in what finalizes the union between particulars and Forms to generate form-copies. I refer to this finalizing agent as the “form-copy agent.” Plato puts forth two causes: Reason and Necessity. Both Reason and Necessity possess operative limits (authority) defined by causal capabilities. The abstract parts and machinery are subsumed under Reason, while Necessity is broadly associated with physical reality. The causal role of Reason is to define all being. Necessity’s causal role, on the other hand, remains somewhat obscure. If Reason defines being, what does Necessity accomplish as a cause? Plato’s metaphysics needs a catalyzing agent that can account for particulars’ transition into form- copies. Necessity, I argue, is this agent. 1 Introduction In Plato’s first real attempts to outline the theory of Forms (Phaedo), two principal modes of being are posited: being (οὐσία) and participation (μετέχειν). These two modes of being give rise to three definitive ontological states: Forms, particulars, and form-copies. Forms are defined by being (οὐσία). -
3.5 the Atlantis Myth. the Ideal, Fantasy and Critical Commentary – Timaeus and Critias
Myth and philosophy on stage in Platonic dialogues Tofighian, O. Citation Tofighian, O. (2010, January 19). Myth and philosophy on stage in Platonic dialogues. Faculty of Humanities, Leiden University. Retrieved from https://hdl.handle.net/1887/14566 Version: Corrected Publisher’s Version Licence agreement concerning inclusion of doctoral thesis in the License: Institutional Repository of the University of Leiden Downloaded from: https://hdl.handle.net/1887/14566 Note: To cite this publication please use the final published version (if applicable). 3.5 The Atlantis myth. The ideal, fantasy and critical commentary – Timaeus and Critias 3.5.1 Preface An analysis of the Atlantis myth, as it is presented in both the Timaeus and the Critias, using my proposed methodology raises doubts since the approach has so far depended on the interdependent co-existence of mythos and logos in the same text. The two texts do not provide any example of dialectic argument – in fact the two major parts of the Timaeus and all of the Critias are narrative monologues. Also, the history of Athens and Atlantis has no didactic counterpart but, in a prelude to the story, only alludes to a previous conversation which could be interpreted as implying some of the arguments constituting the first five books of the Republic. Plato‟s treatment of ancient Athens and Atlantis certainly does not contain any argument in the form we have become used to in previous dialogues. In this chapter I will be focusing on the Atlantis myth and critically approach it using the same methods I have used to study the other dialogues. -
Plato's Phaedo: Tragedy, Philosophy, and Backstabbing
Anthós (1990-1996) Volume 1 Number 2 Article 2 1991 Plato's Phaedo: Tragedy, Philosophy, and Backstabbing Melody Wilson Portland State University Follow this and additional works at: https://pdxscholar.library.pdx.edu/anthos_archives Part of the Philosophy Commons Let us know how access to this document benefits ou.y Recommended Citation Wilson, Melody (1991) "Plato's Phaedo: Tragedy, Philosophy, and Backstabbing," Anthós (1990-1996): Vol. 1 : No. 2 , Article 2. Available at: https://pdxscholar.library.pdx.edu/anthos_archives/vol1/iss2/2 This open access Article is distributed under the terms of the Creative Commons Attribution-NonCommercial- ShareAlike 4.0 International License (CC BY-NC-SA 4.0). All documents in PDXScholar should meet accessibility standards. If we can make this document more accessible to you, contact our team. PLATO'S PHAEDO: TRAGEDY, PHILOSOPHY, AND BACKSTAl3BING Melody Wilson Oncf! a thing is committed to writing it circulates equally among those who understand the subject and those who have no business with it; a writing cannot distinguish between suitable and unsuitable reg-ders. (Socrates, Phaedrus 275c.) lthough he wrote poetry and tragedies A as a youth, upon joining Socrates Plato burned all of his manuscripts (Lesky, 507). As a philosopher, Plato can be made to say that the written word could convey the depth of meaning necessary to the understanding of the subject of philosophy. Perhaps in response to the assertions of contemporary philosophers, Plato asserted that, "no treatise by me concerning [philosophy] exists or ever will exist" (Cushman, 304). He did ultimately write, but using a form that did not violate this principle.