“As one would expect from the team of Brann, Kalkavage and Salem, their edition of Plato's _Meno_ is a fine one. The translation meets their stated goal of remaining 'as faithful as possible to the Greek, while using lively, colloquial English.' Their notes are consistently helpful and will be particularly useful to those readers willing to explore the nuances of Plato's extraordinary prose. Their introduction is clear and compact, and it highlights the most philosophically important themes of the (...) dialogue. One particularly useful feature of this edition is the manner in which it displays the diagrams Socrates draws in order to illustrate his famous 'square within a square.' Instead of relegating them to the notes, it integrates them into the text of the dialogue itself. Readers are able to follow along, and 'watch' Socrates actually construct them." _—David Roochnik, Boston University_. (shrink)

The text at Phaedo 100a is a well-known crux: Socrates seems to claim as for his use of a hypothesis: whatever does not follow from my hypothesis, I put down as not true (hos ouk alethe). Since there may be pairs of contradictory propositions, both of which do not follow from his hypothesis, Socrates would have to claim that both are false, although of two contradictory propositions only one can be false. I argue, using a reading already proposed by (...) class='Hi'>Henricus Aristippus, that Plato had Socrates claim: (...) I do not put down as true (ouch hos alethe). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.3 (2003) 415-416 [Access article in PDF] Tad M. Schmaltz. Radical Cartesianism: The French Reception of Descartes. Cambridge: Cambridge University Press, 2002. Pp. xiv + 288. Cloth, $65.00.More than fifty years ago Richard H. Popkin urged historians of philosophy to work on secondary figures in philosophy, in part for their own sake, but also because the true shape of philosophy and the development (...) of major figures can be understood only through examination of the intellectual milieu out of which they arose. Among others he specifically mentioned Robert Desgabets, Jean Du Hamel, Simon Foucher, Pierre-Daniel Huet, Pierre-Sylvain Regis, and Henricus Regius. Now in Radical Cartesianism, Tad Schmaltz has provided a masterful and erudite study of these and other philosophers who are minor now but were major in their day. The importance of this study is not just that it illuminates the metaphysics of Descartes, Spinoza, and Malebranche, and clarifies the relationship of these philosophers to Arnauld, Jansenism, Plato, and the Aristotelian scholasticism of the day, but also that it opens to view an intricate and significant body of thought. The radical Cartesianism Schmaltz examines addresses and provides solutions to problems of the relationship between mind and body, between man and God, and between ideas and the external world that continue to engage philosophers today. Schmaltz concludes his study with the suggestion that these philosophers might have had more latter-day influence if larger historical events, in particular the death of Louis XIV and the subsequent relaxation of attacks on Jansenism (and on supposed Jansenist Cartesianism) had not led to interest in matters other than the Eucharist and the nature of the soul that were major issues among the radical Cartesians and their opponents.But were any of these radical Cartesians actually Cartesians? If, as Schmaltz says, the metaphysical core of Cartesianism is Descartes's doctrine that "the essence of body consists in extension and that the essence of mind consists in thought" (10), then most of his followers were not radical Cartesians, but rather heretical Cartesians. They rebelled against as many of Descartes's doctrines as they accepted. Schmaltz's careful expositions, analyses, comparisons, correlations, and extrapolations of their arguments and positions make up the bulk of his book. The detail, command of the material, insight, and breadth of Schmaltz's exposition is on an order of magnitude above previous work on these figures and will stand for a long time as a challenge to the next few generations of scholars.But if so many of these figures alter Descartes's metaphysics so radically, why do they still designate themselves as Cartesians? The major reason is that while Cartesian metaphysics was in disarray, Cartesian science was flourishing. Regius is the model. He said (directly to Descartes) that metaphysics is inessential to science, that matters of God and certainty about the existence of the external world could and should be left to faith. What was liberating during the third quarter of the century in The Netherlands and in the fourth quarter in France was Descartes's scientific method of posing hypotheses and testing them with experiments. You will never get certainty this way, but already science was advancing by leaps and bounds. Christian Huygens, who as a boy had known Descartes, belittled the man's metaphysics, but was one of the greatest and most successful practitioners of the [End Page 415] Cartesian scientific method of his time. What remains to be written is a study of late-seventeenth-century Cartesian science that is as excellent and comprehensive as Schmaltz's study of the Cartesian metaphysics of the time. Here are some problems Descartes set up that are of particular concern to the philosophers of the time. If God can do anything, even make contradictions true, then why could he not make you think you exist even when you do not? How could you think of something that does not exist? Because your thoughts have a temporal dimension, and time depends on motion, and motion pertains only to material bodies, how could you... (shrink)

Artikelen over het grensgebied tussen psychologie, recht en moraal vanuit een rechtspsychologisch en behavioristisch uitgangspunt, waarbij de auteur zich onder meer baseert op het gedachtegoed van de Amerikaanse psycholoog Skinner.

Psychologische, rechtstheoretische en sociobiologische benadering van altruïstisch gedrag als grondslag van de menselijke samenleving.

Originally published in 1529, the Declamation on the Preeminence and Nobility of the Female Sex argues that women are more than equal to men in all things that really matter, including the public spheres from which they had long been excluded. Rather than directly refuting prevailing wisdom, Agrippa uses women's superiority as a rhetorical device and overturns the misogynistic interpretations of the female body in Greek medicine, in the Bible, in Roman and canon law, in theology and moral philosophy, and (...) in politics. He raised the question of why women were excluded and provided answers based not on sex but on social conditioning, education, and the prejudices of their more powerful oppressors. His declamation, disseminated through the printing press, illustrated the power of that new medium, soon to be used to generate a larger reformation of religion. (shrink)

Reasoning by analogy in chemical history: fallacies and guidelines. In chemistry (and natural science in general) reasoning in terms of analogy may be of great practical values as well as of theoretical significance. At the same time, however, the use of analogy is risky and the results are uncertain. In alchemy and iatrochemistry analogies between the living and the non-living nature have been carried too far. At the end of the 19th century an analogy was drawn between chemical phenomena and (...) the Darwinian theory of evolution. Another example of an overexaggerated analogy can be found in Lavoisier’s theory of acids, where oxygen was considered to be the general principle of acidity. Reasoning by analogy is mostly based on an inner conviction. It leads to provisional predictions in such cases where the required facts are not or incompletely at our disposal. (shrink)

Plato the teacher: - Being selections from the Apology, Euthydemus and Protagoras is an unchanged, high-quality reprint of the original edition of 1897. Hansebooks is editor of the literature on different topic areas such as research and science, travel and expeditions, cooking and nutrition, medicine, and other genres. As a publisher we focus on the preservation of historical literature. Many works of historical writers and scientists are available today as antiques only. Hansebooks newly publishes these books and contributes to (...) the preservation of literature which has become rare and historical knowledge for the future. (shrink)

The earliest -- c.1446-7 --complete translation of an authentic dialogue of Plato into a Western vernacular language.

This is a commentary on selected texts of Plato concerned with poetry: the Ion and relevant sections of the Republic. It is the first commentary to present these texts together in one volume, and the first in English on Republic 2 and 3 and Ion for nearly 100 years. The introduction sets Plato's views in their Greek context and outlines their influence on later aesthetic thought. An important feature of the commentary is its exploration of the ambivalence of (...) Plato's pronouncements through an analysis of his own skill as a writer. (shrink)

Essestially an inquiry into morality, the Republic is the central work of the Western world's most famous philosopher. Containing crucial arguments and insights into many other areas of philosophy, it is also a literary masterpiece: the philosophy is presented for the most part for ordinary readers, who are carried along by the wit and intensity of the dialogue and by Plato's unforgettable images of the human condition. This new, lucid translation is complemented by full explanatory notes and an up-to-date (...) critical introduction. (shrink)

Both an ideal entrée for beginning readers and a solid text for scholars, the second edition of Peter Kalkavage's acclaimed translation of Plato's _Timaeus_ brings enhanced accessibility to a rendering well known for its faithfulness to the original text. An extensive essay offers insights into the reading of the work, the nature of Platonic dialogue, and the cultural background of the _Timaeus_. Appendices on music, astronomy, and geometry provide additional guidance. A brief outline of the themes of the work, (...) a detailed glossary, and a selected bibliography are also included. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy of Music Education Review 12.1 (2004) 60-63 [Access article in PDF] Response to Bennett Reimer, "Once More with Feeling: Reconciling Discrepant Accounts of Musical Affect" Constantijn Koopman University of Nijmegen and Royal Conservatory of the Hague, The Netherlands Bennett Reimer has pointed out the crucial distinction between intrinsic and extrinsic meaning or, in his terminology, between inherent and delineated meaning. He has eloquently described how feeling in music (...) can be both of the inherent type and of the delineated type and has argued that both types of meaning can coexist. There is no point in denying the validity of either of them; rather the challenge is to develop a view which allows us to combine both perspectives of musical meaning into a unified musical practice.As far as I am concerned, Reimer has succeeded in his reconciliatory approach. Therefore, rather than providing criticism, I would like further to elaborate on the subject. First, I shall examine the difference between the two types of meaning Reimer has illustrated in his examples: feeling as a part of inherent meaning and feeling as portrayed or represented. Then, I shall briefly discuss the problem of articulating these two types of meaning and its educational implications.When reflecting on inherent and delineated meaning, I find that the dichotomy [End Page 60] goes beyond the opposition between intrinsic and extrinsic. We are also dealing with different versions of the concept of meaning; different meanings of 'meaning' so to speak. In the case of feelings, actions, or objects portrayed in music we have a rather unproblematic use of the meaning concept-meaning as reference. Music functions as a meaning bearer that directs our attention to something beyond itself. Musical structure is used to represent something that exists independently of music. With Charles S. Peirce, we might say that it serves the function of an "icon." The iconic sign has a form which is similar to the thing it denotes.1 Similarity may have the form of direct resemblance but it may also may be based on analogy. I guess that both kinds of portrayal were present in the Chinese swamp battle piece. Battle sounds can easily be imitated by musical instruments and violent movement and feelings can be represented by analogous tonal movement.With inherent meaning, things are different. Feelings are not pointed to and represented by musical structure; instead they are experienced by the person who engages in music. This is in line, I suppose, with Reimer's exposition; not only does he say that feeling is contained and expressed in sounds but also that feeling is undergone by the performer and the listener. What precisely is the place of inherent feeling in music? Feelings are not contained in the sense that they require an act of decoding so that by interpreting the musical structure we can decipher its affective contents. Nor is it appropriate simply to declare that musical feelings are caused by musical perception. Such an explanation suggests that feelings are a secondary phenomenon in music, a sort of byproduct of musical cognition; first the music is conceived in a cognitive act, then feelings are released. But in fact feeling is much more directly and actively involved in musical experience; it is vital to the constitution of the musical object. For example, to appreciate the specific character and import of themes and motifs we have to sense their affective value. We realize the power of rhythms by feeling them in our body. Chords and chord progressions are perceived as subtle qualities of tension and release. Only by feeling the curve of tension and release can we appreciate how the work progresses-whether the music is moving forward or coming to closure, whether a climax is prepared or there is consolidation, whether a case of closure is partial or final. Likewise, the perception of contrasting musical episodes-like soft versus rough, supple versus stubborn, warm versus frigid-involves the participation of feeling. In short, the function of feeling contributes a major part to the constitution of the musical... (shrink)

R.E. Allen's superb new translations of four Socratic dialogues—_Ion_, _Hippias Minor_, _Laches_, and _Protagoras_—bring these classic texts to life for modern readers. Allen introduces and comments on the dialogues in an accessible way, inviting the reader to reexamine the issues continually raised in Plato's works. In his detailed commentary, Allen closely examines the major themes and central arguments of each dialogue, with particular emphasis on _Protagoras_. He clarifies each of Plato's arguments and its refutation; places the themes in (...) historical perspective; ties each theme to interpretations of rival translations; and links the philosopher's thought to trends in late modern philosophy. Topics discussed include: whether virtue is an art, whether wisdom and courage are logically equivalent, whether virtue is knowledge, and whether to know the good is to do it. Allen connects his discussion of these issues to the Benthamite tradition of hedonism and utilitarianism and to the ethical theories of Mill, Sidgwick, Moore, and Freud. (shrink)

Plato's 'Euthyphro' is important because it gives an excellent example of Socratic dialogue in operation and of the connection of that dialectic with Plato's earlier 'Theory of Forms'. This edition of the dialogue provides a translation with interspersed commentary.

This translation of four of Plato's dialogues brings these classic texts alive for modern readers. Allen introduces and comments on the dialogues in an accessible way, inviting the reader to re-examine the issues Plato continually raises.

You'd never know Athens was locked in a life-or-death struggle from the tranquil and leisurely philosophical discussion that unfolds through the pages of the Republic...Plato's masterpiece continues to inform our questions and our thinking when it comes to being, truth, beauty, goodness, justice, community, the soul, and more." -From Dr. Littlejohn's Introduction. On the way back from a festival, Socrates is waylaid by some friends who compel him to go home with them. There he and his companions engage in (...) a long discussion about whether it is worse to suffer evil or to commit it. Far from being dry or abstract, Plato's dialogue is full of practical questions about the nature of justice, education, power, and virtue, and it ends with two of the most vivid myths ever devised by man. This Canon Classic is translated clearly by Benjamin Jowett, and unlike all other works of philosophy, it's actually fun to read. The Canon Classics series presents the most definitive works of Western literature in a colorful, well-crafted, and affordable way. Unlike many other thrift editions, our classics are printed on thicker text stock and feature individualized designs that prioritize readability by means of proper margins, leading, characters per line, font, trim size, etc. Each book's materials and layout combine to make the classics a simple and striking addition to classrooms and homes, ideal for introducing the best of literary culture and human experience to the next generation. This Worldview Edition features an introduction divided into sections on The World Around, About the Author, What Other Notables Said, Setting, Characters, & Plot Summary, Worldview Analysis, 21 Significant Questions & Answers, and Further Discussion & Review. (shrink)

This edition of Martin Ostwald's revised version of J. B. Skemp's 1952 translation of _Statesman_ includes a new selected bibliography, as well as Ostwald's interpretive introduction, which traces the evolution in Plato's political philosophy from _Republic_ to _Statesman to Laws_--from philosopher-king to royal statesman.

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

'What exactly is knowledge?' The Theaetetus is a seminal text in the philosophy of knowledge, and is acknowledged as one of Plato's finest works. Cast as a conversation between Socrates and a clever but modest student, Theaetetus, it explores one of the key issues in philosophy: what is knowledge? Though no definite answer is reached, the discussion is penetrating and wide-ranging, covering the claims of perception to be knowledge, the theory that all is in motion, and the perennially tempting (...) idea that knowledge and truth are relative to different individuals or states. The inquirers go on to explore the connection between knowledge and true judgement, and the famous threefold definition of knowledge as justified true belief. Packed with subtle arguments, the dialogue is also a work of literary genius, with an unforgettable portrait of Socrates as a midwife of wisdom. This new edition uses the acclaimed translation by John McDowell. It includes a valuable introduction that locates the work in Plato's oeuvre, and explains some of the competing interpretations of its overall meaning. The notes elucidate Plato's arguments and draw connections within the work and with other philosophical discussions. ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more. (shrink)

"The unexamined life is not worth living." Socrates's ancient words are still true, and the ideas sounded in Plato's Dialogues still form the foundation of a thinking person's education. This superb collection contains excellent contemporary translations selected for their clarity and accessibility to today's reader, as well as an incisive introduction by Erich Segal, which reveals Plato's life and clarifies the philosophical issues examined in each dialogue. The first four dialogues recount the trial execution of Socrates--the extraordinary tragedy (...) that changed Plato's life and so altered the course of Western though. Other dialogues create a rich tableau of intellectual life in Athens in the fourth century B.C., and examine the nature of virtue and love, knowledge and truth, society and the individual. Resounding with the humor and astounding brilliance of Socrates, the immortal iconoclast, these great works remain powerful, probing, and essential. (shrink)

The second edition of _Five Dialogues_ presents G. M. A. Grube's distinguished translations, as revised by John Cooper for Plato, _Complete Works_. A number of new or expanded footnotes are also included along with an updated bibliography.

In Plato's Gorgias, Gorgias of Leontini, a famous teacher of rhetoric, has come to Athens to recruit students, promising to teach them how to become leaders in politics and business. A group has gathered at Callicles' house to hear Gorgias demonstrate the power of his art. This dialogue blends comic and serious discussion of the best human life, providing a penetrating examination of ethics, the foundations of knowledge, and the nature of the good.

Plato's dialogues frequently treat several topics and show their connection to each other. The Phaedrus is a model of that skill because of its seamless progression from examples of speeches about the nature of love to mythical visions of human nature and destiny to the essence of beauty and, finally, to a penetrating discussion of speaking and writing. It ends with an examination of the love of wisdom as a dialectical activity in the human mind. Phaedrus lures Socrates outside (...) the walls of Athens, where he seldom goes, by promising to share a new work by his friend and mentor Lysias, a famous writer of speeches. This dialogue provides a powerful example of the dialectical writing that Plato uses to manifest ideas that are essential to human existence and to living a good life. The Phaedrus shows how oral and written forms of language relate to each other and to philosophy. It simultaneously embodies the entire process in some of the greatest poetry ever written. (shrink)

Plato's Republic, one of the great works in the history of philosophy, is presented here as it was written - as a dramatic performance exploring various perspectives on justice, truth, knowledge, and the good. Plato wrote each book of The Republic to be performed by actors playing the characters of Socrates, Glaucon, Adeimantus, Thrasymachus, and the others. When Book One was performed, he then invited his students—the brightest and best young people in Athens—to respond to each and every (...) argument, issue, and question posed by the characters. Rather than passively listening, they were lured into the process and challenged to evaluate and improve on the ideas presented in the performance. Based on their responses, Plato then wrote Book Two. The same process was repeated, and Book Three was generated. In this way all ten books evolved as part of a dynamic and creative dialectic intended to take place in the souls of each and every participant—including Plato himself. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)