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

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

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

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

In his Encomium of Helen and On Not Being, Gorgias of Leontinoi discusses the nature and function of speech more extensively than any other surviving author before Plato. His discussions are not only surprising in the way they characterize the power of logos and its effects on a listener but also in how the two descriptions of speech seem to contradict one another. In the Helen, Gorgias claims that logos is a very powerful entity, capable of affecting (...) a listener in whatever way it wants. In On Not-Being, he makes the very different (but no less exaggerated) claim that logos is a non-entity, incapable of referring to anything other than itself. In this essay I show how these apparently contradictory accounts might be brought into harmony with one another.2 In the first part I address some of the interpretive difficulties with the text of Gorgias’s On Not Being (henceforth ONB) and the role that irony plays in the work. In particular I argue (as others have before) that Gorgias’s remarks about the impotency of speech are not meant to be taken seriously. Instead, they are aimed more squarely at raising questions about how exactly speech is thought to function and, more specifically, how linguistic reference works—i.e., how words somehow correspond to things, on one level, and to our ideas about things, on another. In the second and third parts of this paper, I illustrate how Gorgias’s concern with linguistic reference in ONB goes on to inform his notion of logos in the Encomium of Helen. I point specifically to evidence found in an important and often overlooked exit clause at the close of ONB regarding the difference between words and things. There, Gorgias insists that if words manifest meaning at all, they must appeal to their own sort of sense organ. In the Helen, he draws on the concepts of soul (psychē) and opinion (doxa) in order to construct this alternative, psychagogic account in which utterances are actually apprehended in ways akin to sense perception. Whether or not one is convinced by Gorgias’s alternative account of how speech works, the description he gives of logos does notionally circumvent the problem of linguistic reference and, in doing so, pushes one to think beyond the potentially constrictive framework of nomen et nominatum. I argue that, when read in this way, these two early discussions of logos represent a unified progression of serious thought about how speech works. (shrink)

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

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

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

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

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

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

Three famous sophists are referred to together in the Apology of Sokrates as still practising their enviably lucrative itinerant profession in 399 B.C. (not, by implication, in Athens): Gorgias of Leontinoi, Prodikos of Keos and Hippias of Elis. The last of these was the least well known to the Athenian demos, having practised mainly in Dorian cities. There is no extant reference to him in Old Comedy, but we can assume that he was sufficiently famous - especially for (...) his fees (possibly the highest charged by any sophist) - to justify his inclusion as the third of this 'triad'; cf. the triad Protagoras - Hippias - Prodikos in the Protagoras, considered further below. Gorgias was by now a grand old man of about ninety (with more than a decade of active life still ahead of him), the last survivor of the first generation of fee-taking educators, associated first and foremost in the popular mind with the suspect arts of political and forensic persuasion. Prodikos and Hippias were probably in their sixties. (shrink)

Plato’s “Apology of Socrates” is a masterpiece of the philosophical literature. The question remains as to how much it has been influenced by earlier works, e.g. of Gorgias of Leontinoi and Euripides. Nevertheless, comparative studies on Hippolytus’ defense in Euripides’ tragedy of the same name, on Gorgias’ “Defense of Palamedes” and on Plato’s “Apology” do not exist. The short paper gives an introduction into the status quaestionis.

Plato’s “Apology of Socrates” is a masterpiece of the philosophical literature. The question remains as to how much it has been influenced by earlier works, e.g. of Gorgias of Leontinoi and Euripides. Nevertheless, comparative studies on Hippolytus’ defense in Euripides’ tragedy of the same name, on Gorgias’ “Defense of Palamedes” and on Plato’s “Apology” do not exist. The short paper gives an introduction into the status quaestionis.

Each of us is a measure. The project of advocates of change in Plato’s Theaetetus as compared with sophistic thought -/- Summary -/- One of the most intriguing motives in Plato’s Theaetetus is its historical-based division of philosophy, which revolves around the concepts of rest (represented by Parmenides and his disciples) and change (represented by Protagoras, Homer, Empedocles, and Epicharmus). This unique approach gives an opportunity to reconstruct the views of marginalized trend of early Greek philosophy - so called „the (...) sophistic movement”. Paradoxically, previous research shows little interest in sophistic thought as a source of the standpoint of advocates of change („the secret doctrine”). The roots of „the secret doctrine” were investigated in the works of Heraclitus, Aristippus, and Antisthenes or those related to “neoheracliteanism”. However, researchers did not make any significant attempt to confront this concept with the contemporary research on the sophistic movement. The conviction that sophistry was primarily humanistically oriented was one of the main reasons why researches were opposed to the fact that „the secret doctrine” could represent a true expression of Protagoras’ views. This is why J. Burnet and F. M. Cornford in their seminal works assumed that “the secret doctrine” should be attributed to Plato, who simply combined a series of loose statements into one single project. In this work, we argue that the thesis which questions the parallels between the sophists’ interests and the philosophers of nature requires a significant revision. There is ample evidence to suggest that the philosophy of nature was a part of sophists’ research. This is supported by two main arguments. First, the tutors of sophists were philosophers of nature. Second, there are numerous sources that explicitly show sophists’ interest in the physical issues. These sources include anecdotal evidence about the fact that sophists wrote works On nature. There is also information confirming that they deliberated on detailed physical issues. The analogies between the concepts attributed to the advocates of change and our knowledge about sophists from other sources is very wide and contains most elements, which are included in the project of “changeable reality” presented in Theaetetus. The deliberations on the mechanism of perception, which are close to those of flux theory of perception in Theaetetus, are present in the sources referring to Gorgias of Leontinoi, the famous sophist and rhetorician. Also, the second element of “the secret doctrine” that is the metaphysics of flux matches up with what we know about the sophists’ views from other sources. On this basis, one can deduce that – contrary to the tradition which marginalized the role of sophistic considerations on the issue of being and non-being – it was one of the major subjects of sophistic research. Its main point was the criticism of the Eleatic conception of a single and unchangeable being, which also plays a key role in the doctrine of flux in Theaetetus. The epistemological theses which are presented in Theaetetus are borne out in sophistic sources. They include the definition of knowledge as perception, the „Man-measure” formula and a number of principles, which result from these foundational theses. Sophists’ empirical preferences resonate with the theses of the advocates of change in Theaetetus. Special attention that is given to the issues of differences among people, and even to cognitive differences in one person depending on the changeable states to which a person is subject, goes well together with what we know about reciprocal influence between the sophistry and medicine. The consequences of the epistemological conception present in Theaetetus have their equivalents in sophists’ works and other testimonies. An example of these consequences may be the abolition of truth and falsehood or the abolition of contradiction, which finds its expression in the thesis ouk estin antilegein. The analogies also concern reflections on the language itself. The project of the “new language” uses categories, which were developed by sophists. These include the antithesis of nomos and physis. The general intentions of this project reflect Protagoras’ ideas, at least to the extent to which they are known from the sources reporting his thoughts on language. Plato’s Theaetetus can thus be considered a veritable treasury of sophistic motifs. Even though the problem remains unsolved and one is still not able to unambiguously decide about the author of “the secret doctrine”, one can come to a certain conclusion – even if Plato synthesized various doctrines, he must have relied in his project mostly on the elements that he borrowed from sophists. Moreover, the value of reconstructing the project of the advocates of change in Theaetetus does not consist of mere enumeration of sophistic motifs. The dialogue is key to understanding the sophistic movement, whose separate doctrines – for the lack of sources and as a result of centuries-old disregard – are usually treated as rhetorical formulae that are interpreted in many ways and have no philosophical foundations. If it is really the case that the theses attributed to Protagoras in Theaetetus were actually a part or a derivative of Protagoras’ thought, or – speaking more conservatively – if they constitute a synthesis of sophistic thought done by Plato, they could represent philosophical foundations for the most important sophistic theses: the “Man-measure” formula, the ouk estin antilegein principle, the concept of language as a tool, the idea of the relativity of good and the whole practical sphere of sophists’ activity. Contrary to the views of many researchers, we are certain that the representatives of the sophistic movement did not limit themselves only to the application of practical rules, which determined the extent of their educational or rhetorical-political activity. They were capable of creating – indeed, they did create comprehensive projects that embraced the whole thematic scope subject to philosophical reflection. (shrink)

Die hier vorliegende Neuübersetzung von Platons Menon enthält eine ausführliche Einführung, in der die Umstände der Abfassung, die möglichen Adressaten, die Figuren des Dialogs sowie dessen Thema und Fragestellung erörtert werden. Die Übersetzung beruht auf dem griechischen Text von Bluck (1964). Daher sind in dem reproduzierten griechischen Text (nach Burnet 1903) die Änderungen eingearbeitet, die sich aus dem Text von Bluck ergeben. Darüber hinaus werden an einer Reihe von Stellen Änderungen für den griechischen Text vorgeschlagen, teils aufgrund eigener oder fremder (...) Konjekturen, teils aufgrund anderer Lesarten in den Handschriften, von denen einige auch für das philosophische Verständnis des Dialogs von Bedeutung sind. Die Erläuterungen legen zum einen Wert auf eine genaue Analyse der Argumente des Gesprächs, zum anderen auf die literarischen Aspekte. Hierbei sprechen die Bezüge zu sizilischen Autoren (Gorgias, Empedokles, Theognis) zusammen mit den an die Komödie erinnernden Elementen dafür, dass Platon bei der Abfassung ein sizilisches Publikum vor Augen hatte. Aus diesen Voraussetzungen ergibt sich ein neues Verständnis verschiedener Positionen, die diesem Dialog zugeschrieben werden. (shrink)

Die Bibliotheca Teubneriana, gegr ndet 1849, ist die weltweit lteste, traditionsreichste und umfangreichste Editionsreihe griechischer und lateinischer Literatur von der Antike bis zur Neuzeit. Pro Jahr erscheinen 4-5 neue Editionen. S mtliche Ausgaben werden durch eine lateinische Praefatio erg nzt. Die wissenschaftliche Betreuung der Reihe obliegt einem Team anerkannter Philologen: Gian Biagio Conte (Scuola Normale Superiore di Pisa) James Diggle (University of Cambridge) Donald J. Mastronarde (University of California, Berkeley) Franco Montanari (Universit di Genova) Heinz-G nther Nesselrath (Georg-August-Universit t G (...) ttingen) Dirk Obbink (University of Oxford) Oliver Primavesi (Ludwig-Maximilians Universit t M nchen) Michael D. Reeve (University of Cambridge) Richard J. Tarrant (Harvard University) Vergriffene Titel werden als Print-on-Demand-Nachdrucke wieder verf gbar gemacht. Zudem werden alle Neuerscheinungen der Bibliotheca Teubneriana parallel zur gedruckten Ausgabe auch als eBook angeboten. Die lteren B nde werden sukzessive ebenfalls als eBook bereitgestellt. Falls Sie einen vergriffenen Titel bestellen m chten, der noch nicht als Print-on-Demand angeboten wird, schreiben Sie uns an: [email protected] S mtliche in der Bibliotheca Teubneriana erschienenen Editionen lateinischer Texte sind in der Datenbank BTL Online elektronisch verf gbar. (shrink)

Los estudiosos suelen concordar actualmente en que la “escuela eleática”, tal como se nos presenta por primera vez en los diálogos de Platón, tiene más de ficción que de realidad histórica. En este artículo trato de dilucidar el origen de esa ficción, empezando por examinar las hipótesis de que el comentario de Platón acerca de la “tribu eleática” iniciada por Jenófanes es una broma o bien refleja una interpretación previa debida a Hipias o a Antístenes. Argüiré que la “eleatización” de (...) Jenófanes fue introducida –junto a la lectura de Parménides y Zenón como filósofos monistas, a la manera de Meliso– por la escuela megárica de Euclides (lo cual me obliga a defender, contra Von Fritz y Döring, el carácter neo-eleático de la filosofía megárica), y sugeriré que una huella precisa de tal interpretación megárica puede encontrarse en la sección dedicada a Jenófanes del tratado pseudo-aristotélico De Melisso Xenophane Gorgia. (shrink)

Die sophistische Bewegung setzte in der zweiten Hälfte des 5. Jahrhunderts v.Chr. ungefähr zeitgleich in ganz Griechenland ein, ihr Zentrum hatte sie in Athen. Die Anfänge philosophischen Denkens der Griechen lagen jedoch in der westkleinasiatischen Stadt Milet. Im 6. Jahrhundert förderten die weitreichenden Handelsbeziehungen der Polis den kulturellen Austausch und machten sie zu einer Metropole der Philosophie, Wissenschaft und Kunst. Nach der Zerstörung der Stadt im Jahre 494 und dem Sieg der Griechen über die Perser entwickelte sich Athen zum politischen (...) und kulturellen Mittelpunkt Griechenlands. Philosophen wie Anaxagoras, aber auch Sophisten wie Protagoras und Gorgias machten die Athener mit Vorstellungen vertraut, die weit von dem durch Mythos und Tradition bestimmten Denken abwichen. (shrink)

--2. Bd. Des Sokrates Apologie. Kriton. Euthydemos. Menexenos. Gorgias. Menon. Bearb. von H. Hofmann.--3. Bd. Phaidon. Das Gastmahl. Kratylos. Bearb. von D. Kurz.--4. Bd. Politeia. Der Staat. Bearb. von D. Kurz.--5. Bd. Phaidros. Parmenides. Briefe. Bearb. von D. Kurz.--6. Bd. Theaitetos. Der Sophist. Der Staatsmann. Bearb. von P. Staudacher.--7. Bd. Timaios, Kritias. Philebos. Bearb. von K. Widdra.--8. Bd. Nomōn. Gesetze. Bearb. von K. Schöpsdau. 2 v.

Sokrates hat als Figur in der kaiserzeitlichen Philosophie nicht zuletzt auch bei der Auseinandersetzung mit dem Christentum eine Rolle gespielt. Dass dies auch für Aspekte der praktischen Ethik gilt, die mit seinem Namen verbunden werden, ist mit Blick auf die wachsende Jenseitsorientierung der kaiserzeitlichen, platonisch dominierten Philosophie bestritten worden. Michael Erler zeigt, dass die von Sokrates im Gorgias als 'wahre Politik' bezeichnete praktische Anwendung philosophischer Methoden gleichwohl auch im späteren Platonismus eine Rolle spielte und als Hilfestellung für das Leben (...) im Diesseits letztlich der Befreiung der Seele für das Jenseits diente."-- Back cover. (shrink)

Zu den beiden -Bosewichten- der antiken Philosophie, Kallikles und Thrasymachos, existiert uberraschend wenig detailreiche Sekundarliteratur, obwohl das intellektuelle Interesse an ihren bei Platon uberlieferten Anschauungen uberaus gross ist - denn das Faustrecht fasziniert. Der vorliegende Kommentar zu den entsprechenden Textstellen des -Gorgias- bzw. des ersten Buches des -Staates- soll die Lucken in der Sekundarliteratur nun schliessen. Gangigen Standpunkten heutiger Interpreten, zwar nicht offen fur Kallikles und Thrasymachos Partei zu ergreifen, Ihnen aber warmherziges Verstandnis auszusprechen, tritt der Autor entschieden entgegen. (...) Er nahert sich dem Problem um das durch Kallikles und Thrasymachos vertretene sophistische Recht des Starkeren von Platons Seite her. Das Buch sagt insgesamt dem anhaltenden Rehabilitierungsstreben zur Sophistik bzw. der um sich greifenden Diffamierung Platons den Kampf an. Damit wird den Sophisten diejenige Rolle zugewiesen, die ihnen geschichtlich gesehen auch zukommt, nicht Aufklarer, sondern Aufwiegler zu sein. Nicht zuletzt kommt uber die umfangreiche Charakterdarstellung des Kallikles und Thrasymachos hinaus die ethische Grundhaltung ihres grossen Gegenspielers Sokrates zum Tragen. Das Buch zeichnet ihn als echten Bezwinger des Immoralismus aus. Und Sokrates erweist sich schliesslich einmal mehr als der, der er ist: als der wahre Erzieher der Menschheit.". (shrink)

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

This book represents the views of one of the greatest mathematicians of the twentieth century on the analogies between computing machines and the living human brain.

Chapter Growing up Constructivist: Languages and Thoughtful People What is radical constructivism? It is an unconventional approach to the problems of ...

The simplest story about modals—might, must, possibly, necessary, have to, can, ought to, presumably, likelier, and the rest—is also the canon: modals are context-dependent quantifiers over a domain of possibilities. Different flavors of modality correspond to quantification over different domains of possibilities. Logical modalities quantify over all the possibilities there are, physical modalities over possibilities compatible with the..