ABSTRACT The chief contribution of P. Kitromilides’ Enlightenment and Revolution is that it reconstructs the Modern Greek Enlightenment as a radical programme of social and political transformation. At the same time, it describes the petering out of the Enlightenment legacy in the newly independent Kingdom, whose public life was gradually infused with a romantic nationalism with mystical and religious overtones. During the twentieth century, this led to the decoupling of the Greek public mind from the idea of Europe, which had (...) been the lodestar for the leaders of the eighteenth century Greek Enlightenment and the Revolution of 1821. The writers of the ‘Generation of the Thirties’ constructed a notion of ‘Neohellenism’ in conscious disjunction from the ‘rationalist’ legacy of the West. Still, the institutional legacy of the Enlightenment survives as the foundation of Modern Greek public life, and its resilience was successfully tested against the onslaught of the ‘politics of unreason’ in the teens of the present century. (shrink)

In this compelling and timely treatise, cultural theorist and educator Peter Trifonas puts forth the first book-length study of Jacques Derrida's 'educational texts:' that is, those writings most explicitly concerned with the ethics and politics of the historico-philosophical structures constituting the scene of teaching. The text examines how deconstruction allows us to re-think the socio-historical and ethico-philosophical aspects of pedagogical practices and policies, including pedagogical theories that have had direct bearing on the ethical and cultural ideals forming the reason of (...) Western educational systems and the exclusion of its 'Others.'. (shrink)

What do professional wrestling, Pot Noodle and Feng Shui have in common? Well, not much - but they all appear in this book.Critic and cultural philosopher Peter Trifonas and art historian Effie Balomenos explore the curious concept of good - and bad - taste. At once an absurd and yet entirely everyday concept, taste defines us. Our choices, from the most personal (our friends or lovers) to the most general (our politics), are all partly dependent on it.But where does taste (...) come from? Is there a true standard of taste? Are we slaves to the cruel whims of fashion? Who's in control?Good Taste is an enthralling exploration of the cultural history of an idea. In this enticing book - divided into chapters exploring cultural artefacts of absolutely all kinds - Trifonas and Balomenos warn: you are what you choose!Highlights include: TV chefs · Ozzy Osbourne and Reality TV · The 70s fashion conspiracy · Disney · Madonna · Lamborghini · The history of cleavage · High heels · Elvis · Body piercing · Hip-hop · Oprah Winfrey · Ageing rock bands · Turn-ups · Harry Potter · Fake tans and much, much more ... (shrink)

Robots are slowly, but certainly, entering people's professional and private lives. They require the attention of regulators due to the challenges they present to existing legal frameworks and the new legal and ethical questions they raise. This paper discusses four major regulatory dilemmas in the field of robotics: how to keep up with technological advances; how to strike a balance between stimulating innovation and the protection of fundamental rights and values; whether to affirm prevalent social norms or nudge social norms (...) in a different direction; and, how to balance effectiveness versus legitimacy in techno-regulation. The four dilemmas are each treated in the context of a particular modality of regulation: law, market, social norms, and technology as a regulatory tool; and for each, we focus on particular topics? such as liability, privacy, and autonomy? that often feature as the major issues requiring regulatory attention. The paper then highlights the role and potential of the European framework of rights and values, responsible research and innovation, smart regulation and soft law as means of dealing with the dilemmas. (shrink)

Responding to Jacques Derrida's vision for what a "new" humanities should strive toward, Peter Trifonas and Michael Peters gather together in a single volume original essays by major scholars in the humanities today. Using Derrida's seven programmatic theses as a springboard, the contributors aim to reimagine, as Derrida did, the tasks for the new humanities in such areas as history of literature, history of democracy, history of profession, idea of sovereignty, and history of man.

Plato's Menexenus and Pericles' Funeral Oration.

ιλοκαλομέν τε γρ μετ' ετελείας κα ιλοσοομεν νευ μαλακίαας. πλούτ τε ργου μλλον και ἢ λόγου κόμπ χρώμεθα, κα τ πένεσθαι οχ μολοσεν τιν ασχρόν, λλ μ διαεύγειν ργ ασχιον νι τε τος ατος οκείων μα κα πολιτικν πιμέλεια, κα τέροις πρς ργα τετραμμένοις τ πολιτικ μ νδες γνναι. J. Kakridis has seen in this famous passage a reflection of the popular debate, conducted most memorably by Amphion and Zethus in Euripides' Antiope and Callicles and Socrates in Plato's Gorgias, over (...) the respective merits of the vita activa and vita contemplativa. Normally the intellectual is faulted as lazy and helpless, the politician as an ignorant busybody; yet Pericles, according to Kakridis, claims that Athenians avoid these faults and combine the traits of both lives at their best. This interpretation accords well with the idealism of the funeral oration, but it falters over what Pericles places between philosophy and politics, viz. πλοτος. Kakridis must struggle to account for the transition directly from philosophy to wealth, on the assumption that πλούτ τε…χρώμεθα serves to amplify νευ μαλακίας, while νιτε…πιμέλεια extends the description of the non-intellectual life from the private sphere of trade to the public one of politics. (shrink)

Ferdinand Mount has been fascinated by the great thinkers and politicians who have shaped human history over the past two millennia In this fascinating, and provocative book, he examines the proposals for a political theory from a number of widely different historical figures. Twelve key people, from the great orator and statesman of Ancient Greece (Pericles) to the inspiration of the founding of the state of Pakistan (Muhammad Iqbal) we take a colourful and rip-roaring journey through the historical figures (...) who have both inspired and provoked Mount in equal measure. The lives of men such as Jesus Christ, Rousseau, Adam Smith, Edmund Burke, and Thomas Jefferson are discussed and comparisons are drawn between the various approaches each figure promoted in their works - whether philosophical, or political theories. For those wishing to be guided by Mount's choices and be swept along by his brilliantly erudite prose, this will be a particular enjoyable read. Lots of colour, humour and passion governed all these people careers and Mount brings them to life like no one else can. Praise for the international-bestselling Tears of the Rajas:- 'Mount is a skilled and fluent writer who does his subject justice' --Literary Review 'Mount relates this remarkable story with a gentle wit, a lightness of touch, a boyish enthusiasm as well as a genius for the telling pen-portrait... It is a remarkable story, and cumulatively amounts to an epic panorama of British Indian history much more substantial than the 'collection of Indian tales, a human jungle book', which Mount modestly describes as his aim in the introduction.' --William Dalrymple, The Spectator 'What [Mount] provides instead is of far greater value: a perceptive antidote to nationalistic prejudicial thinking, and an opportunity for a greater understanding of the aftereffects of British imperialism in some of the world's most troubled regions.' Sunday Times 'Although Tears of the Rajas is replete with stirring tales of adventure, it is a deeply humane book. Mount's heart is at all times with the people of India, whose lives are turned upside down by blundering attempts at modernisation.' The Times. (shrink)

Between two reasonably priced paper covers, in print of adequate size, we have an extensive and unified collection of primary sources displaying the continuity and periodic adjustment of the ideals and practical considerations of democracy. Between Pericles and the present Sherover finds four basic periods: The Classical Heritage, The Democratic Revolutions, The Priority of Freedom, and Contemporary Groundings. The editor introduces each section with a clear and simply stated digest of each thinker's basic ideas and how the thinkers compare (...) with each other. These introductions contain no novel interpretations and will give the student a running start on the readings that follow them. The introductions are also important transitions whose historical perspective gives the book its continuity. The volume might have been strengthened by allowing some of those who have fundamentally challenged the democratic tradition to speak for themselves.--S. O. H. (shrink)

This essay is a memorial tribute from one member of the Common Knowledge editorial board to another. Adam Michnik, a cofounder of the first dissident organization in East-Central Europe, writes about the details and the symbolic importance of his first meeting, in 1978 on Mt. Snĕžka, with Václav Havel, coorganizer of Charter 77. From his insider’s perspective, the author retells the history of dissent in communist Europe from that time until the Velvet Revolution and Havel’s election as president of Czechoslovakia (...) in 1989. He also assesses the impact of Havel’s work as a playwright and antipolitical essayist, but the emphasis of the essay falls on how Havel the man dealt with the disappointments he endured in political office, including the passage of “lustration” laws and the election of Václav Klaus as prime minister. The organizing principle of this essay is the distinction made by the Czech philosopher Jan Patočka between “great history” and “small history.” In periods of greatness, the Czechs led European civilization toward the path it would subsequently take; at other times, they withdrew into the “banality of provincialism.” This tribute to Havel ultimately argues that, after many decades of provincial Stalinism, Havel brought Czech history back to the path of greatness on which T. G. Masaryk had set it in the first part of the twentieth century. (shrink)

This text brings together for the first time two complete key works from classical antiquity on the politics of Athens: Plato's Menexenus and Pericles' funeral oration.

Not the least pleasure in reading a book so vital and imaginative as Mr. Cornford's lies in the vitalising effect it has on the imagination of the reader. The results may or may not be correct: Mr. Cornford may or may not agree with them: but it is perhaps the best of compliments to a writer that he should produce such an effect at all. In the present instance his masterly analysis of the character and significance of Cleon as an (...) actor in Thucydides’ historic drama has suggested an interpretation of Pericles’ position in the tragedy, which, though somewhat different from Mr. Cornford's own estimate of that great figure, is yet in accordance with his general conception of the work as a whole, designed to show Retribution following on overbearing Ambition and overweening Desire. From the time of Grote this conception has been familiar enough in outline, but Mr. Cornford fills it in with a wonderful richness of detail and illustration, and in particular draws a striking parallel with the vast scheme of Retribution in the Oresteia. (shrink)

Isabelle Stengers’ cosmopolitical proposal is an influential attempt by a European philosopher to transform the burdensome legacy of Western thought. Reconsidering her comprehensive engagement with the cosmology of the British mathematician and philosopher Alfred North Whitehead, this article reveals two concepts as foundational to Stengers’ cosmopolitics: civilization and commerce. While not usually associated with a critical political theory, in her development of what we call a commercial political ontology, Stengers explores the modes of inheriting these ostracized notions. By tracing the (...) genealogy of this political ontology back to Pericles’ first explicit defense of persuasion as a requisite for civilization, we argue that Pericles’ famous funeral oration provides the structure for Whitehead’s cosmology, and, ultimately, Stengers’ cosmopolitics. As such, we understand her cosmopolitical proposal as a dress rehearsal of a funeral eulogy for bourgeois society. (shrink)

The main claim of this paper is that Plato's views on social and individual good as well as his criticism of democracy can be best understood as a conscious attempt to contrast with Periclean conceptions of freedom and democracy a new point of view. It will be argued that it is a mistake to see Plato's view as either democratic or authoritarian. An adequate understanding of Plato will focus on some difficult questions concerning the relationship between freedom and knowledge; questions (...) that are rarely if ever faced clearly today. The Platonic conception and its clash with Pericles raises also some important and still unresolved questions about human motivation. (shrink)

This paper examines C.L.R James’s interpretation of Athenian democracy in “Every Cook Can Govern” (1956). It seeks to explain why Athenian democracy remained indispensable to James’s political thought. I argue that James reinterprets Athens as a proto-workers’ state, and explore the resulting contradictions and complexities. Within “Every Cook Can Govern” James presents a radical interpretation of Athenian Democracy at three points: (1) James claims that slavery in Athens was humane and economically insignificant, (2) he supports the theory of the “Athenian (...) Miracle” found in Pericles’s Funeral Oration, and (3) he chooses to end his essay with a misleading interpretation of the anti-tyranny oath of Demophantos. James idealizes Athenian political realities, and ultimately invents his own version of Athens. But his idealization arose from principled skepticism regarding mainstream views of Athenian democracy and his political commitment to defending the capabilities of the ordinary person. (shrink)

What were Shakespeare's final thoughts on history, tragedy, and comedy? Shakespeare's Last Plays focuses much needed scholarly attention on Shakespeare's "Late Romances." The work--a collection of newly commissioned essays by leading scholars of classical political philosophy and literature--offers careful textual analysis of Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, The Tempest, All is True, and The Two Noble Kinsmen. The essays reveal how Shakespeare's thought in these final works compliments, challenges, fulfills, or transforms previously held conceptions of the (...) playwright and his political-philosophical views. (shrink)

What were Shakespeare's final thoughts on history, tragedy, and comedy? Shakespeare's Last Plays focuses much needed scholarly attention on Shakespeare's "Late Romances." The work—a collection of newly commissioned essays by leading scholars of classical political philosophy and literature—offers careful textual analysis of Pericles, Prince of Tyre, Cymbeline, The Winter's Tale, The Tempest, All is True, and The Two Noble Kinsmen. The essays reveal how Shakespeare's thought in these final works compliments, challenges, fulfills, or transforms previously held conceptions of the (...) playwright and his political-philosophical views. (shrink)

In this essay, I propose a reading of two contrasting passions, two kinds of erōs, in the "Symposium." On the one hand, there is the imperialistic desire for conquering and possessing that Alcibiades represents; and on the other hand, there is the productive love of immortal wisdom that Diotima represents. It’s not just what Alcibiades says in the Symposium, but also what he symbolizes. Alcibiades gives a speech in honor of Socrates and of his unrequited love for him, but even (...) here Alcibiades recounts his attempted seduction of Socrates as a failed conquest, as an unsuccessful attempt to violently take possession of something that Socrates has within him. Even more importantly, in 416 BCE (the dramatic date of Agathon’s symposium) Alcibiades was soon to encourage his fellow countrymen to set off on the ruinous Sicilian expedition. Alcibiades’s actions behind-the-scenes of the "Symposium" reveal the clearest manifestation of his imperialistic erōs (for political power in Athens). They also constitute some necessary background to the dialogue, which Plato’s Athenian readers would have had in mind. Where else can we catch a glimpse of this disastrous desire? It is best illustrated in Thucydides’s "History." I show that the beginnings of this political passion can already be seen in Pericles’s funeral oration (2.35-46, specifically 2.43.1) and that after Pericles’s death, Alcibiades stokes this erōs to such a fevered pitch that the Athenians agree to launch the tragic venture against Sicily. Opposed to this political passion, is Diotima’s. She tries to reorient this misguided erōs and presents an alternative form of desire for everlasting wisdom (philosophia). (shrink)

This article discusses the text and interpretation of passages in Plutarch's Lives of Romulus, Agis and Cleomenes, Pericles, Brutus, Marcellus, Alexander and Marius.

In lieu of an abstract, here is a brief excerpt of the content:The Rhetoric of Parody in Plato's MenexenusFranco V. TrivignoIn Plato's Menexenus, Socrates spends nearly the entire dialogue reciting an epitaphios logos, or funeral oration, that he claims was taught to him by Aspasia, Pericles' mistress. Three difficulties confront the interpreter of this dialogue. First, commentators have puzzled over how to understand the intention of Socrates' funeral oration (see Clavaud 1980, 17–77).1 Some insist that it is parodic, performing (...) an essentially critical function (e.g., Loraux 1986); while others claim that it is serious, in particular as an expression of Plato's political ideal (e.g., Kahn 1963).2 Adherents on both sides seem to think that the options are mutually exclusive.3 Second, commentators have had difficulty understanding why Plato would have Socrates attribute his entire oration to Aspasia (e.g., Coventry 1989, 3; Pownall 2004, 60). Most agree that this move is ironic and that it has something to do with the alleged target of the dialogue's criticism. But scholars have differed over whether the Aspasia reference is meant to implicate Pericles' funeral oration (Monoson 1998), rhetoric in general (Pownall 2004), Athens (Loraux 1986), or even Aeschines (Clavaud 1980).4 Third, scholars have struggled to make sense of the dialogue's "deliberate and fantastic anachronism" (Dodds 1990, 24). In the funeral oration, Socrates relates the history of Athens up to the King's Peace in 386 B.C., a full thirteen years after he has died. This problem has generated the least consensus, with some scholars restricting their analysis [End Page 29] to dating considerations (e.g., Dodds 1990) and at least one speculating that Socrates speaks in this dialogue as a ghost (Rosenstock 1994).5It is the contention of this article that, by understanding the rhetoric of parody in the Menexenus, one can resolve these difficulties and come to a coherent and unified understanding of the philosophical intentions of the dialogue.6 More specifically, I will show that the anachronism is a consequence of a particular parodic strategy, that of amplification; that the dialogue's parody targets not only Pericles' funeral oration in particular but funeral oratory, rhetoric, and Athens as well; and that the parody has serious philosophical implications.7 Further, I claim that the serious philosophical content is both critical and constructive. Plato subverts the civic identity and understanding of virtue encouraged by the genre of funeral oration, and he challenges its praise-based model of political discourse. At the same time, Plato's parodic criticism is not entirely negative, for it relies on alternative paradigms of civic identity, virtue, and political discourse.I. The Rhetoric of ParodyBefore turning to the Menexenus itself, I want to clarify what I mean by parody. For a working definition, I suggest that parody is "an imitation that distorts a target text, author, or genre."8 In order to make some general observations about the rhetoric of parody, I will look briefly at an exemplar of parody from Aristophanes' Frogs. I do so for three reasons: to display two strategies of parodic distortion, to show that parody can have multiple targets, and to argue that parody can have both serious and complex intentions.9In the Frogs (1331–63), Aristophanes uses at least two techniques of parodic distortion, inversion and amplification, in his extended parody of Euripides' monodies or single-actor odes.10 Parodic inversion, broadly speaking, upsets or overturns the target text by distorting the original in a way that reverses the stylistic effect or semantic intention. Parodic amplification hones in on one aspect of the target text and amplifies it to absurdity, often exposing its artificiality as a literary trope.The parodic scene features a woman who awakens, hysterical and terrified, from a god-sent dream, which has conveyed disturbing news. We find in this passage a particular kind of parodic inversion: bathos, the unexpected introduction of the vulgar, ordinary, or mundane, which undermines an otherwise somber tone.11 Consider the following excerpt:Attendants, set alight a lamp for me,Collect the dew of rivers in pitchers [End Page 30] And heat the water,So that I may wash away the god-sent dream.Oh god of the sea... (shrink)

The observation that men reveal their distinctive identities as human beings in what they do and say seems neither very original nor very controversial. But consider the following set of implications: that men are more likely to reveal who they uniquely are when they act and speak spontaneously, than when they labor to maintain biological subsistence or work to produce a tangible world of human artifacts; that action and speech together make up a “web of human relationships” that forms the (...) intangible but vital substance of human community; that, paradoxically, when they act and speak in human community men are most truly free and yet least in control of their own destinies; that when deprived, as they can be, of human community men quickly lose the sense of their own reality as well as that of a world experienced in common; that the Athenian citizenry of Pericles’ time, fully aware of all this, constituted the greatest and possibly the last authentically “political” community in Western history; and that Pericles’ faith in the power of the Athenian polis to actualize and to sustain human greatness was, for understandable reasons, so short-lived that political thought and political decision from Plato to the present day might well be regarded as an escape from “politics” altogether. (shrink)

πƤΟƩ ΗΔΟΝΗΝ ΛΕƮΕΙΝAt 2.65 Thucydides says of Pericles that he did not speak to please (πρòς ήδoνν λέγειν): he had no need of such means for acquiring influence, since he already enjoyed it because of his recognized merits. But his successors were on the same plane as one another, each one striving to establish himself as the man first in influence with the demos. And in this drive for ascendancy, they began to allow the people's pleasures to shape the (...) advice they gave (༐τράπoντo καθ’ ήςoνàς τŵ δήμω καì τà πράγματα ༐νδιδóναι). (shrink)

The arguments advanced in this paper suggest that the Menexenus ought to be read as a pendent to the Gorgias and as an example of the way in which rhetoric that engages in flattery can harm the souls of its audience. The Menexenus was composed by Plato to illustrate precisely what sentiments ought to be avoided in public oratory, if the primary concern of speech-making is to benefit the lives of citizens. In addition to demonstrating the connections between the Menexenus (...) and Gorgias, a portion of the paper examines the relation between Plato and Thucydides, arguing that there is perhaps more of an affinity between Plato and Thucydides than has previously been acknowledged. Pericles’ Funeral Oration and the speech in the Menexenus suggest that both Thucydides and Plato were deeply concerned with the negative effects of oratory on the political community. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Hamlet’s PerfectionJohn D. CoxHamlet’s Perfection, by William Kerrigan; xviii & 179pp. Baltimore: Johns Hopkins University Press, 1994, $29.95.While acknowledging that his reading of Hamlet is “idiosyncratic and unfashionable” (p. x), Kerrigan offers no apologies for it, asserting, instead, that tradition is worth vindicating, because “those who have been trained in a tradition may discard it, but those who come after, students of the discarders, will be simply oblivious” (...) (pp. 2–3). Putting all his cards on the table, Kerrigan acknowledges four influences in the tradition he defends: literary formalism, historical scholarship, intellectual history, and psychoanalysis (pp. xii–xiii).Hamlet criticism thus “begins with the Romantic Germans” (p. 1), and they eventually give rise to Freud, who “influences most of the criticism of our century” (p. 14), even when critics (like Eliot) disagree with him. Kerrigan’s reading of the tradition is illuminating, subtle, informed, and informative, and he uses it to establish his reading of the play, working within the tradition but extending it in hitherto unseen and insightful ways. Of course Hamlet delays for Kerrigan, but no one has ever explained his delay so carefully or with so many other factors taken into account. “This seems to me much the best reading yet of the delay,” Kerrigan asserts (p. 76), and one is inclined to assent, given the assumptions.But why make these assumptions? Kerrigan dismisses postmodern criticism: it is a symptom of “our current decadence” (p. 31) and has contributed “little to the elucidation of Hamlet” (p. xi). Since the elucidation of texts and characters is not the aim of postmodern critics, they unsurprisingly fail at what they do not attempt. Yet they follow a tradition established, for the most part, by Marx and Nietzsche, and Kerrigan does not explain why he venerates one of Paul Ricoeur’s “masters of suspicion,” namely Freud, and not the other two.In fact, many readers may feel that Kerrigan fails to avoid decadence himself. He relates his Oedipal explanation of Hamlet’s delay to the observation that Shakespeare never has anything good to say about cosmetics, even though he was a man of the theater. Kerrigan relates this “split,” in turn, to early traumas in Shakespeare’s life. The fact that Mary Shakespeare had lost two daughters before William’s birth means that she must have been overattentive to him as an infant, yet she must have weaned him nine months before birth of younger brother Gilbert, thus splitting William’s attitude toward her between resentment of her overattention and resentment of being displaced at the breast. Kerrigan finds evidence of the latter in Timon 4.3.114–20, where Timon inveighs against “milk-paps” as “horrible traitors” (p. 78). Never mind that these are virgin’s paps and that Timon’s emphasis is sexual, not maternal: breasts are traitors to Timon as sex objects, not as sources of nutrition. The critic’s confusion between virgin and maternal breasts perhaps explains why Kerrigan places Thaisa in a brothel in Pericles, rather than Marina (p. 80), but I am not sure what psychological explanation to offer for this particular split. [End Page 381]Kerrigan would do well to heed the postmodern insight that we all speak out of a specific tradition, with the attendant lesson that tolerance and mutual respect across traditions is imperative, since “ridiculous” and “mockable” are relative to context, as Corin points out to Touchstone.In privileging Freud, Kerrigan not only dismisses the heritage of Marx and Nietzsche but underestimates the importance of what lies behind all three. For the Romantic/Freudian tradition cannot claim to have originated either character analysis or individuality, which Kerrigan purports to value. “A man’s character is his fate,” Heraclitus says, perhaps generalizing from Homer, but the insight would eventually inform Aristotle’s notion of an ethics based on virtuous character, which in turn was Christianized by Thomas (where it complements the moral sense of individual worth that Hamlet acknowledges in the providential oversight of sparrows), and came to influence the Reformers in various ways. Kerrigan has good things to say about Stoicism in Hamlet, but to assert that “It all begins with the Romantic Germans... (shrink)

I consider Sophocles’s tragedy the Ajax against the backdrop of Pericles’s invocation of silence about and from women, Pericles’s citizenship law of 451BCE and Aristotle’s understanding of the human being as a political animal possessing logos. I argue that in the actions and speeches of the play there is a questioning of the exclusion of women and bastards from political deliberation. A study of the language of the play reveals that Tecmessa, Ajax’s concubine, and Teucer, his bastard half-brother, (...) exercise logos while the Homeric hero Ajax consistently resorts to the sort of sounds used by animals that give voice to pain. The dismissal of the speech of women and those from the lower ranks of society proves detrimental to the lives of those who choose to silence them. (shrink)

French journalist Claire Parnet's famous dialogues with Gilles Deleuze offer an intimate portrait of the philosopher's life and thought. Conversational in tone, their engaging discussions delve deeply into Deleuze's philosophical background and development, the major concepts that shaped his work, and the essence of some of his famous relationships, especially his long collaboration with the philosopher Félix Guattari. Deleuze reconsiders Spinoza, empiricism, and the stoics alongside literature, psychoanalysis, and politics. He returns to the notions of minor literature, deterritorialization, the critical (...) and clinical, and begins a nascent study of cinema. New to this edition is Deleuze's essay "Pericles and Verdi," which reflects on politics and historical materialism in the work of the influential French philosopher François Châtelet. An enduring record of Deleuze's unique personality and profound contributions to culture and philosophy, _Dialogues II_ is a highly personable account of the evolution of one of the greatest critics and theorists of the twentieth century. (shrink)

Probably written by a student of Aristotle, The Athenian Constitution is both a history and an analysis of Athens' political machinery between the seventh and fourth centuries BC, which stands as a model of democracy at a time when city-states lived under differing kinds of government. The writer recounts the major reforms of Solon, the rule of the tyrant Pisistratus and his sons, the emergence of the democracy in which power was shared by all free male citizens, and the leadership (...) of Pericles and the demagogues who followed him. He goes on to examine the city's administration in his own time - the council, the officials and the judicial system. For its information on Athens' development and how the democracy worked, The Athenian Constitution is an invaluable source of knowledge about the Athenian city-state. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.2 (2000) 203-221 [Access article in PDF] Taste and "the Conversible World" in the Eighteenth Century Rochelle Gurstein In the middle of the nineteenth century a series entitled "Afoot" appeared in the literary magazine Blackwood's (1857), describing an Englishman's travels through Europe. In one installment the narrator tells of meeting a Yankee, who had just come from Florence the beautiful. Our friend approached (...) him warily, and began to ask him what he had seen, what admired. Then, after a little circumlocution, he dashed at once, in medias res, by saying, "Of course, you were in raptures with the Venus de Medici?"--expecting an answer such as he would himself have given. "Well, sir, to tell you the truth, I don't care much about those stone gals," was the answer he received. Our friend collapsed. Had anyone in his presence denied the orthodoxy of St. Augustine, or abjured the Thirty-Nine Articles, there would have been more sorrow in his anger, but scarcely more indignation. The Venus de Medici--a classic chef d'oeuvre--a thing which Praxiteles might have touched with his chisel, or Pericles have looked upon, to be called a "stone gal"! Had he doubted its genuineness, or spoken of it as a specimen of secondary art, he might have been deemed critical, hypercritical; but this was a classic impiety, an irreverence, a profanity. As if that were not enough, the Yankee's words betrayed "uncivism" and "egoism." He was undoubtedly among that type who "under their home influences, and the shadow of their own nationalities... have no aptitude for general civism." 1There is of course much that is familiar in this vignette, especially the contrast between Old World sophistication and American naivete. The unflappable Yankee who is irremediably unaware and proud of it and the overly fastidious, overly aestheticized Englishman were both destined to become stock characters in novels depicting Americans abroad, and here we see an early confrontation [End Page 203] between their rival sensibilities. Even though the Venus de Medici has now completely vanished from the modern imaginary museum of masterpieces, it was once among the most beloved, celebrated, and reproduced statues of antiquity; its repute was far beyond that of the Mona Lisa today, and from the time it was unearthed at the end of sixteenth century through the nineteenth century it was the indisputable exemplar of beauty. So it is no surprise that the Englishman, who, like all cultivated people of his day, was well versed in the world of classical antiquity, was mortified by the American's obliviousness before this "classic chef d'oeuvre"; for it revealed a man so utterly lacking in taste and sensibility that he did not have the wherewithal to know that he had been "irreverent" when he called the Venus de Medici "a stone gal."Where this anecdote moves into less familiar territory, however, is the Englishman's characterization of the Yankee's taste as uncivic and egoistic, as provincial and narrow. His willingness to judge a total stranger, to hold him accountable to a single standard of judgment, could not be in sharper contrast to our contemporary attitudes. Today subjectivity is celebrated in the common saying that everyone is entitled to his or her opinion and taste; what is more, diversity of tastes is regarded as a measure of personal freedom and democracy. Thus, the Englishman's quickness to judge would be evidence of elitism, oppression, even cultural imperialism, and this response no longer belongs to naifs who cannot tell the difference between the most revered sculpture and stone gals; it now belongs to the sophisticated, educated, modern (and postmodern) person. Today the very idea of drawing distinctions--not only between practiced taste and first impressions but also between art and commercial entertainment, art and obscenity, high and popular culture, scholarship and propaganda, let alone between beauty and ugliness, right and wrong, excellence and mediocrity--is suspect. And since the capacity to make precisely these kinds of distinctions was once understood as the essence of... (shrink)

This book is a concise, readable introduction to the Greek author Thucydides, who is widely regarded as one of the foremost historians of all time.Why does Thucydides continue to matter today? Perez Zagorin answers this question by examining Thucydides' landmark History of the Peloponnesian War, one of the great classics of Western civilization. This history, Zagorin explains, is far more than a mere chronicle of the conflict between Athens and Sparta, the two superpowers of Greece in the fifth century BCE. (...) It is also a remarkable story of politics, decision-making, the uses of power, and the human and communal experience of war. Zagorin maintains that the work remains of permanent interest because of the exceptional intellect that Thucydides brought to the writing of history, and to the originality, penetration, and the breadth and intensity of vision that inform his narrative. The first half of Zagorin's book discusses the intellectual and historical background to Thucydides' work and its method, structure, and view of the causes of the war. The following chapters deal with Thucydides' portrayal of the Athenian leader Pericles and his account of some of the main episodes of the war, such as the revolution in Corcyra and the Athenian invasion of Sicily. The book concludes with an insightful discussion of Thucydides as a thinker and philosophic historian.Designed to introduce both students and general readers to a work that is an essential part of a liberal education, this book seeks to encourage readers to explore Thucydides--one of the world's greatest historians--for themselves. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Prudence: Classical Virtue, Postmodern PracticeFrancis A. BeerPrudence: Classical Virtue, Postmodern Practice. Ed. Robert Hariman. University Park: Pennsylvania State University Press, 2003. Pp. xi + 337. $65.00, cloth."Would it be prudent?" The phrase echoes in memory, linking Dana Carvey from Saturday Night Live to the presidency of the first George Bush. Robert Hariman has been wrestling with prudence for over a decade, and he has now produced a powerful (...) volume that brings together not only his thoughts but also those of a number of other distinguished authors. The result is a book that will become a standard reference for those interested in prudence.The subtitle, Classical Virtue, Postmodern Practice, and the title of the first chapter, "Theory without Modernity," give some idea of the subtexts that drive the book. This is a book about prudence, and more. It is about virtue in classical, modern, and postmodern settings. It is about the dynamic complexity of practice—decision, judgment, and action in public and private life.Hariman gives us a definition: "Prudence is a mode of reasoning about contingent matters in order to select the best course of action" (5). That would be too easy. He also surrounds prudence with a penumbra of related words to broaden our understanding of the complex lattice of semantic meaning. Our legacy from the Greek and Roman lexicon includes words like phronesis and prudentia. Contemporary nouns involve cautiousness, circumspection, and care. Related adjectives are "careful, judicious, tactful, discerning, sensible, frugal, wise, sage, level-headed, balanced, moderate, politic, practical pragmatic, expedient" (vii). These synonyms, for Hariman, describe a narrow, modern form of prudence, part of the calculative tradition inherited from Aristotle, that ultimately leads to the saddle points of rational choice. They are, however, only a part of the story. Hariman aims to relieve their "stodginess" by recovering the performative tradition of prudence from Cicero. Prudence, from this perspective, is defined not just abstractly as a set of rules but more dynamically as a set of roles. Prudence includes character, and is performed by characters. Pericles in Athens is an iconic example of superb political leadership that blends the honor of the leader with the glory of the state. Prudence combines integrity of the self with respect for others. This is a broad, ambitious interpretation [End Page 176] of prudence. It recuperates not only a classical vision of prudence but also one of politics. It rearranges other virtues to revolve in a constellation around prudence. In this reconstituted form, prudence reemerges to shine as "a crucial element of political leadership," the central political virtue.The book is divided into three parts: "Conceptual Frameworks," "Rhetorical Structures," and "Provisional Networks." All three of the sections are identified in structural terms, which is interesting since Hariman's conception of prudence as a primary political virtue is very agent-centered. The structures, however, provide the settings in which the political observers and actors perform. The first section provides a sample of the rich literature that focuses on philosophical concepts of prudence in earlier times and places. It begins with a chapter by Robert W. Cape Jr. that discusses "Cicero and the Development of Political Practice in Rome." This chapter is critical to the book, since it lays a part of the foundation. It is the first substantive essay and it must also make the case for combining calculative and performative prudence. Cape gives us a fine exposition of prudentia in the Roman context. Interestingly, he suggests that "prudentia is a contraction of providentia, "'foresight.'" (37).The virtue of prudence was typically associated with age and experience. Imprudence, on the other hand, was associated with youth, recklessness, and impropriety (37). Prudence involved knowledge of practical matters, law, and custom as well as proper speech, including rhetoric, and behavior. Prepon mattered. Prudence for Cicero, however, was much more than simply knowing how things work: it was ultimately the extended performance of justice on the public stage. The next chapter, by Eugene Garver, entitled "After Virtù: Rhetoric, Prudence, and Moral Pluralism in Machiavelli," moves the story of prudence from the late classical to the early modern period. As the title indicates, Garver's concern is also with the relation of... (shrink)

Alors que Socrate avait été accusé de corrompre la jeunesse, Platon présente le philosophe comme le sauveur de la cité. On comprend ce que signifie « sauver » en examinant les décalages que les textes de Platon introduisent par rapports aux discours courants à leur époque, qu'ils soient littéraires (Homère, Sophocle), philosophiques (les Pythagoriciens), politiques (Thémistocle, Périclès, Conon), médicaux (collection hippocratique), ou religieux (Orphisme). S'il prend la place d'autres sauveurs de la cité, comme le militaire, le religieux ou le médecin, (...) le philosophe ne sauve pas en gouvernant mais en diffusant, dans le geste même de philosopher, une forme de vie spécifique, propre à faire régner l'harmonie. (shrink)

A Hegelian reading of good and bad luck -- In Shakespearean drama (phen. of spirit, King Lear, Othello, Hamlet, a Midsummer night's dream) -- Tearing the fabric: Hegel's Antigone, Shakespeare's Coriolanus, and kinship-state conflict (phen. of spirit c. 6, Judith Butler's Antigone, Coriolanus) -- Aufhebung and anti-aufhebung: geist and ghosts in Hamlet (phen. of spirit, Hamlet) -- The problem of genius in King Lear: Hegel on the feeling soul and the tragedy of wonder (anthropology and psychology in the encyclopaedia, Philosophy (...) of mind, King Lear) -- Richard II's mirror and the alienation of the Universal Will (of the I that is a We) (Richard II, phen. of spirit c. 5) -- Falstaff and the politics of wit: negative infinite judgment in a culture of alienation (Henry IV parts I & II, phen. of spirit c. 6, philosophy of right) -- Henry V's unchangeableness: his rejection of wit and his posture of virtue reinterpreted in the light of Hegel's theory of virtue (philosophy of right, Henry V) -- Hegel's theory of crime and evil: (re)tracing the rights of the sovereign self (aesthetics, phen. of spirit, phil. of right, Richard II through to Henry V) -- Richard III, Hamlet, Macbeth and Henry V: conscience, hypocrisy, self-deceit and the tragedy of ethical life (phil. of right, Richard III, Hamlet, Macbeth, Henry V) -- Negation of the negative infinite judgment versus sublation of it: punishment vs. pardon (phil. of right, phen. of spirit c. 6 and Henry VIII) -- Universal wit : the absolute theater of identity (phen. of spirit c. 6 and 8, Pericles, the Tempest) -- Absolute infections and their cure (phen. of spirit c. 6, the Winter's tale). (shrink)

Sethi focuses on multinational corporations in developing countries and the unfair advantage they have in expropriating a greater share of gains from efficiency and productivity from international trade than would be possible if labor had greater mobility or bargaining power.

Ecrit vraisemblablement vers 386/385, le Menexene s'attache a l'eloquence politique lors d'oraison funebre en l'honneur de citoyens morts au combat. Dans ce dialogue, Socrate indique au jeune Menexene qui entre en politique, comment se moquer des orateurs en lui recitant une oraison funebre provenant de sa maitresse Aspasie, epouse de Pericles. L'ouvrage decortique l'un des premiers dialogues de Platon.

‘Only the naïve or innocent observer’, says Sir Moses Finley in his book Politics in the ancient world, ‘can believe that Pericles came to a vital Assembly meeting armed with nothing but his intelligence, his knowledge, his charisma and his oratorical skill, essential as all four attributes were.’ Historians of the Roman Republic have been assiduous in studying clientelae,factiones and ‘delivering the vote’, but much less work has been done on the ways in which Athenian politicians sought to mobilise (...) support. There have been studies of family connections and of links between individual politicians; there have been studies of the associations known as hetaireiai; but many questions remain unanswered. W. R. Connor in The new politicians of fifth-century Athens contrasted an old style of politics, based on ties of philia within the upper classes, with a new style, which spurned philia and appealed directly to the people. Even in his old style, the votes of the ordinary, middling-to-poor citizens counted for more in the straightforward Athenian assembly than in the Roman comitia with their complex systems of block votes. Connor limits political friendship to the upper classes; he pours cold water on Sealey's suggestion that rich families might have brought pressure to bear on their tenants and other dependants ; but apart from general references to largesse he does not really explain how an old-style Cimon or a new-style Cleon would ensure that the assembly was full of voters willing to elect him as general or approve a motion which he proposed. J. K. Davies has tried to take the matter further in Wealth and the power of wealth in classical Athens. (shrink)

A. R. W. Harrison in The Law of Athens, i , 63–5, argued that the exclusion of bastards from the phratries and the severe restriction of their right of inheritance does not entail their exclusion from Athenian citizenship; and that the form of Pericles' citizenship law, not stating that were to be , and Solon's law restricting the inheritance rights of , both point to the conclusion that bastards were not ipso facto debarred from citizenship. D. M. MacDowell in (...) CQ N.S. 26 , 88–91, rightly finds Harrison's positive arguments inconclusive, but suggests that three texts provide more definite support for this conclusion. (shrink)