This chapter presents an excerpt from the The Republic with Socrates conversing with Glaucon. Socrates shows Glaucon the figure of a cave to explain how far our nature is enlightened or unenlightened. He shows prisoners in an underground den facing a wall and shackled in such a way that they cannot move, and can only see before them. Men walk behind the prisoners, they and the objects they carry cast shadows on the cave wall. Knowing nothing of the (...) real causes of the shadows, the prisoners naturally mistake these shadows for the real nature of things. Plato asks whether this is analogous to our own understanding of reality; that is, is the human condition such that our grasp of reality is only partial, catching only the slightest glimpse into the true nature of things, like the prisoners’ world of shadows?. (shrink)

‘...if you learn to think like Peter Cave – with freshness, humour, objectivity and penetration – you will have been amply rewarded.’ :::: Prof. Felipe Fernandez-Armesto, University of Notre Dame __________________ Chapter Titles:>>> ___ 1 Lao Tzu: The Way to Tao >>> 2 Sappho: Lover >>> 3 Zeno of Elea: Tortoise Backer, Parmenidean Helper >>> 4 Gadfly: aka ‘Socrates’ >>> 5 Plato: Charioteer, Magnificent Footnote Inspirer – ‘Nobody Does It Better’ >>> 6 Aristotle: Earth-Bound, Walking >>> 7 Epicurus: (...) Gardener, Curing the Soul, Ably Assisted by Lucretius >>> 8 Avicenna: Flying Man, Unifier >>> 9 Descartes: With Princess, With Queen >>> 10 Spinoza: God-Intoxicated Atheist >>> 11 Leibniz: Monad Man >>> 12 Bishop Berkeley, ‘That Paradoxical Irishman’: Immaterialist, Tar-Water Advocate >>> 13 David Hume: The Great Infidel or Le Bon David >>> 14 Kant: Duty Calls, Categorically >>> 15 Schopenhauer: Pessimism With Flute >>> 16 John Stuart Mill: Utility Man, With Harriet, Soul-Mate >>> 17 Søren Kierkegaard: Who? >>> 18 Karl Marx: Hegelian, Freedom-Fighter >>> 19 Lewis Carroll: Curiouser and Curiouser >>> 20 Nietzsche: God-Slaying Jester, Trans-Valuer >>>> 21 Bertrand Russell: Radical, Aristocrat >>> 22 G. E. Moore: Common-Sense Defender, Bloomsbury’s Sage >>> 23 Heidegger: Hyphenater >>> 24 Jean-Paul Sartre: Existentialist, Novelist, French >>> 25 Simone Weil: Refuser and Would-Be Rescuer >>> 26 Simone de Beauvoir: Situated, Protester, Feminist >>> 27 Ludwig Wittgenstein: Therapist >>> 28 Hannah Arendt: Controversialist, Journalist? >>> 29 Iris Murdoch: Attender >>> 30 Samuel Beckett: Not I >>>. (shrink)

Book Seven of The Republic begins with the famous Allegory of the Cave, an exploration of the natural process of being educated. Socrates and Glaucon probe the meaning of this story both as it relates to the discussion of knowledge and reality developed earlier and to the concept of dialectic, the over-all method of Plato's dialogues. In Book Eight, Socrates and Plato's brothers explore five different kinds of republic and five different kinds of individual, showing how aristocracy (...) becomes timocracy and how oligarchy spawns democracy, ending with the evolution of tyranny. This dramatized version is an adaptation of the Benjamin Jowett translation. (shrink)

This paper examines the intertextual relations between Bertolucci’s film The Conformist and Plato’s allegory of the cave. The importance of interpretation for the Plato’s allegory is emphasized: it is central in the thematic, in its form, and in the way it is communicated. The interpretation of the world is inseparable from self-interpretation. By using elements from Plato’s allegory of the cave, Bertolucci’s film becomes the interpretation of Plato. At the same time, the reality of (...) the film is interpreted in Plato’s terms and images. The concepts of conformism, knowledge and liberation are explored. (shrink)

Plato's texts have been subject to re‐reading in recent years, reflecting new ways in which philosophy has sought to understand the relationship between the author, the reader, and the text. This chapter begins by restating the allegory of the Stanley Cavell in The Republic, before turning to Cavell's reading of this in relation to the opening of the text. It further illustrates the idea of education as a finding of voice, which Cavell articulates through Emersonian moral perfectionism with reference (...) to his work on philosophy as autobiography. The educative relationship to the self and to the other, and the responsibility one takes for one's voice, is then illustrated further by way of Michel Foucault's account of Socratic parrhesia, a practice evident in The Republic and in other texts of Plato to which Foucault refers. Cavell ventures the term sublimation in relation to his questioning of the allegory of the Cave. (shrink)

The first part of this paper argued that the traditional application of the Cave to the Line was not intended by Plato, and led to a misunderstanding of both similes. The Cave, it was said, is attached to the simile of the Sun and the Line by the visible region outside the cave, which is a reintegration of the symbolism of sun, originals and images in the sunlight, and the new system of objects inside the (...) class='Hi'>cave is compared and contrasted with the natural objects in the visible outside. As we know that the natural symbolism illustrates the Platonic education, our main task in this paper will be to find the meaning of the cave, untrammelled by the associations of the lower line. (shrink)

The Allegory of the Cave is a profound and influential reflection on the nature of education and philosophy found in Book 7 of Plato’s Republic. Socrates, the main speaker in the Republic, describes prisoners who have been chained in a cave all their lives, only able to see shadows cast on a wall by objects behind them. The allegory explores what would happen if one of these prisoners were freed and eventually taken into the world outside the (...) cave. The story illustrates how education can lead individuals from the shadowy darkness of ignorance and mere opinion to the light of knowledge and truth. This piece introduces the allegory and guides readers through the text, unpacking key concepts and wider implications. (shrink)

Plato’s Allegory of the Cave is both a staple in the philosopher’s diet and the lesson that is often difficult to digest. In this paper, I describe one way to teach the Sun, Line, and Cave analogies in reference to students’ personal past experiences. After first learning about Plato’s metaphysics and epistemology through reading Republic VI-VII, students are asked to reflect upon a time in their lives when they emerged from a particular “cave of ignorance.” (...) In reflecting on this experience, students are encouraged to consider how each aspect of the line analogy might be represented in their own experience. Students also consider the epistemological experience turning towards that which is more real. In so doing, students gain a deeper understanding of these lessons by connecting new, abstract, and difficult information to information that is so familiar, it is remembered and not merely imagined. Putting Plato’s theories into the context of their own learning experiences facilitates students’ comprehension of the different levels of being and cognition, their interrelation, and the psychological process of increasing understanding. (shrink)

The origin of virtue (Protagoras 320c-323a) -- The judgement of souls (Gorgias 523a-527a) -- The androgyne (Symposium 189c-193e) -- The birth of love (Symposium 201d-212c) -- The other world (Phaedo 107c-115a) -- The cave (Republic 514a-517a) -- ER's journey into the other world (Republic 614b-621d) -- The winged soul (Phaedrus 246a-257a) -- The two cosmic eras (Statesman 268d-274e) -- Atlantis and the ancient city of Athens (Timaeus 20d-25d; Critias 108e-121c).

It has been a commonplace, embodied in philosophy curricula the world over, to think of Descartes' philosophy as he seems to present it: as a radical break with the past, as inaugurating a new philosophical problematic centred on epistemology and on a radical dualism of mind and body. In several ways, however, recent scholarship has undermined the simplicity of this picture. It has, for example, shown the considerable degree of literary artifice in Descartes' central works, and thereby brought out the (...) deceptive character of his self-presentation there. In particular, it has revealed the extent of his debts to the Neoplatonist tradition, particularly to Augustine, and of his engagement with the Scholastic commentators of his day. My aim in this paper is to push this interpretative tendency a step further, by bringing out Descartes' indebtedness to Plato. I begin by offering some reminders of the broadly Platonic nature of Cartesian dualism. I then argue that he provides clues sufficient for—and designed to encourage—reading the Meditations on First Philosophy in the light of distinctively Platonic doctrines, and in particular, as a rewriting of the Platonic allegory of the cave for modern times. It will further be argued that some puzzles about the Discourse on the Method can be resolved by recognizing that Descartes there presents himself as a Socratic enquirer after truth. I conclude by drawing attention to some practical benefits that flow from recognizing these linkages. (shrink)

From student protests over the teaching of canonical texts such as Plato's Republic to the use of images of classical Greek statues in white supremacist propaganda, the world of the ancient Greeks is deeply implicated in a heated contemporary debate about identity and diversity. In Plato's Caves, Rebecca LeMoine defends the bold thesis that Plato was a friend of cultural diversity, contrary to many contemporary perceptions. Through close readings of four Platonic dialogues--Republic, Menexenus, Laws, and Phaedrus--LeMoine shows (...) that, across Plato's dialogues, foreigners play a role similar to that of Socrates: liberating citizens from intellectual bondage. (shrink)

Plato’s simile of the cave has for over two millennia been the model for a particular understanding of the limitated nature of human knowledge. Castoriadis’s understanding of human knowledge differs from Plato’s in that the artificiality of knowledge, and by extension of culture and society in general, is seen not as a barrier to true knowledge but as a necessary precondition for any knowledge whatsoever. Plato dreams of leaving the cave and encountering the world in (...) the clear light of day; Castoriadis contends that the labyrinth of human creation is our only means of encountering the real. Plato tries to use philosophy to design a way out of the traps humans find themselves in, traps they build for themselves. Castoriadis seeks no such escape and believes that to make such an ultimate escape the business of philosophy or politics is misguided, if not dangerous. (shrink)

The Allegory of the Cave (Pl. Resp. 514a1–520e2) is often analyzed in terms of metaphysical, epistemological, political, and psychic hierarchies that are clarified and reinforced by philosophical education. But the Allegory also contains an important historical allusion to the silver mining that took place in classical Attica. Examining the Cave in light of the enslaved miners around Lavrio leads us to reconsider the philosophical ‘liberation’ (λύσιν … τῶν δεσμῶν, 515c4) at the Allegory’s heart in the context of Athenian (...) slavery and Plato’s thoughts on the practice. Elsewhere in his work Plato generally uses servile metaphors in two ways: to depict ‘bad’ internal psychic subjection and ‘good’ submission to logos as manifested in various entities. This historical dimension of the Allegory works to undermine the ostensible naturalness of the slave/citizen distinction and suggest that philosophical education has the potential to ‘free’ the former and ‘subjugate’ the latter. The implication that these juridical categories are, to an extent, arbitrary and mutable reveals important differences between Plato’s views and those of his classical peers, and it adds to the dialogue’s protreptic dimension for its readers then and now. (shrink)

Shadow Philosophy: Plato’s Cave and Cinema is an accessible and exciting new contribution to film-philosophy, which shows that to take film seriously is also to engage with the fundamental questions of philosophy. Nathan Andersen brings Stanley Kubrick’s film A Clockwork Orange into philosophical conversation with Plato’s Republic , comparing their contributions to themes such as the nature of experience and meaning, the character of justice, the contrast between appearance and reality, the importance of art, and the impact (...) of images. At the heart of the book is a novel account of the analogy between Plato’s allegory of the cave and cinema, developed in conjunction with a provocative interpretation of the most powerful image from A Clockwork Orange , in which the lead character is strapped to a chair and forced to watch violent films. Key features of the book include: a comprehensive bibliography of suggested readings on Plato, on film, on philosophy, and on the philosophy of film a list of suggested films that can be explored following the approach in this book, including brief descriptions of each film, and suggestions regarding its philosophical implications a summary of Plato’s Republic , book by book, highlighting both dramatic context and subject matter. Offering a close reading of the controversial classic film A Clockwork Orange , and an introductory account of the central themes of the philosophical classic The Republic , this book will be of interest to both scholars and students of philosophy and film, as well as to readers of Plato and fans of Stanley Kubrick. (shrink)

In Republic, Plato presents a pedagogy whose crucial component is the conversion of the student’s soul. This is clearest in the Allegory of the Cave, where the prisoner begins her liberation by turning herself away from the images on the wall. Conversion is not something we professors typically seek to provoke in a philosophy course, even when we teach Plato. But if this were our goal, what could we do to achieve it within the limits of the (...) modern university? I present one such effort, a paper that uses the Allegory to focus on two questions: who are you, and how did you become that way? After presenting both the prompt and its rationale, I summarize six student submissions and discuss how I evaluated them. I conclude by considering the risks and possibilities of addressing the whole soul and not simply the intellect. (shrink)

Current interpretations of Plato’s cave are obviously incorrect because they do not explain how what we hear does not come from what we see. I argue that Plato is saying that the colors we receive from our faculty of vision do not cause the sounds that we receive from our faculty of hearing. I also show how we do not see ourselves or one other, how the shadows on the wall of the cave are images of (...) that which casts them and therefore have less reality than them, and how the cave illustrates the divided line’s concern for the relationship between Forms and visible reality. The paper is structured around the two great riddles of the divided line: how Forms can be more real than everyday objects, and how one can know the unhypothesized beginning with complete certainty. I further argue that the puppets that cast shadows stand for the immanent Forms of the Phaedo and also for the moving Forms of the Timaeus. That of which these puppets are themselves images would thus stand for the Forms as they are in themselves of the Phaedo or the indestructible Forms of the Timaeus. ‘Plato used to ask whether the discussion was proceeding from or leading up to fundamental principles, just as in a race course there is a difference between running from the judges to the far end of the track and running back again.’ – Aristotle, Nicomachean Ethics 1095. (shrink)

Detailed exploration of the Allegory of the Cave, utilizing notions from film studies, may provide us with insight regarding the identity of the puppet masters in Plato's allegory.

This paper revisits a debate in epistemic democracy about the value of the Diversity Trumps Ability Theorem (Hong and Page 2004 and Page 2008) in supporting the claims of epistemic democrats in favor of more inclusive decision-making processes in politics. We conduct a systematic review of DTA results and conclude that while they generally support the epistemic claims of deliberative democrats, they also support reintroducing experts in certain contexts. We use these results to complicate Plato’s metaphor of the (...) class='Hi'>cave by identifying different areas within it where ordinary citizens, experts, or a mix of both are in a better position to make decisions. (shrink)

In Part I of his paper Cooper gives indisputable evidence regarding Plato's use of the man-made image as a step to the apprehension of a Form under discussion, whether that image be in fact a diagram or a model, or simply a verbal picture, such as his imaginative account of Justice within a community, which we find used to provide us with in Republic 443 c 4 ff. However, Cooper goes on to assure us that the divided-line figure offers (...) us only three types of object: ‘We have three kinds of objects which differ from one another in clearness and esteem, firstly, the Forms, secondly, the objects of ordinary sense-perception, and thirdly, images, shadows and reflections.’ Now the admitted fact that, as he notes, Republic 10 gives the same three orders of reality, does not entirely absolve Cooper from all the implications of Plato's decision to divide his line into four parts rather than three; for it is made quite clear in 509 b 6–10 that the Form of the Good, is the source of being as well as of knowledge, so the Line must also classify both. (shrink)

We often read Plato’s cave allegory for its trajectory: out of darkness into light. The back of the cave—where imagination projects fantasies onto shadows—is a place to flee. This part of the allegory reduces reality testing to thought or imagining, ignoring action and the people or things engaged. Yet thinkers prominent in our time—Immanuel Kant and W. V. O. Quine—suppose that our experience of the world is that of the cave’s prisoners: we too mistake fantasies for (...) reality. This is an odd stance when practical life and science—beliefs informed by action and experiment—are better tests of reality than their arguments for world‐making. (shrink)

Everyone misses the point of Plato's cave. What a coincidence, because everyone also misses the point of BioShock. The moment one's interactivity with the game is revealed as a fake isn't the moment when one kills Andrew Ryan in a cutscene. It's what happens after that. Atlas tells to abort the self‐destruct sequence. One has the choice of whether to abort self‐destruct sequence or not, but, positioned as it is, that choice has been exposed as meaningless within the (...) basic fabric of game's mechanics. The non‐choice of disarming self‐destruct sequence ends up in the same place as the other, more famous ethical dilemma of BioShock; the choice of whether to harvest the Little Sisters or to save them. That's the part that everyone gets wrong where BioShock is concerned, and so it's the part where comparing the game to Plato's cave can really help get both of them right. (shrink)

As Plato’s Phaedrus 246c stipulates, every logos must be structured like a living being, i.e., the relation of all its parts to one another and to the whole must be appropriate. Thus, the present paper argues that Plato’s masterwork has been organized in accord with the ascent/descent movement as presented in the Allegory of the Cave: Book I represents eikasia, Books II–IV.434c exemplify pistis, Book IV.434d–444e illustrates dianoia and Books V–VII express noesis. Having reached the anabasis the (...) philosopher turns to the consideration of the deficient or unjust forms of the souls and the corresponding political regimes. Finally, the discussion comes back to eikasia through the renewed criticism of mimesis and the exposition of the Myth of Er. As is typical of Plato, this is not merely a formal matter, since the structure conveys that as the Good makes the Ideas intelligible, so the Sun, the Line and the Cave images also throw light on the whole dialogue. (shrink)

A retelling of Plato's famous cave allegory. Inspired by Dōgen, Nietzsche, and Wittgenstein.

One of very few monographs devoted to Plato's Meno, this study emphasizes the interplay between its protagonists, Socrates and Meno. It interprets the Meno as Socrates' attempt to persuade his interlocutor, by every device at his disposal, of the value of moral inquiry—even though it fails to yield full-blown knowledge—and to encourage him to engage in such inquiry, insofar as it alone makes human life worth living.

Echoes from the Cave: Philosophical Conversations since Plato is an anthology of classic and contemporary readings in philosophy compiled to introduce students to the main problems discussed by philosophers past and present.

Scientific exploration and thus our knowledge about the outside world is subject to the conditions of our experience.These conditions are condensed here into an interface model which,besides being physical,has an additional interface structure not reducible to physics. We suggest that this structure can dynamically be characterized by separate modes.Their selection and operation presupposes free will and a rudimentary concept of time and space. Based on some analogies with quantum networks it is argued that the 'observed' gets 'dressed'as a consequence of (...) the observing. Interface dynamics and system dynamics supplement each other without over- determination. (shrink)

Plato’s Republic is governed by an analogy drawn between the structures of cities and souls. Because the inner workings of souls are difficult to discern, we might better find the soul’s nature and virtues by looking at the city’s nature and virtues. Despite successfully using the analogy to discern the nature of the soul, its virtues, and its proper ordering, the Republic frequently obscures the very analogy that functions as its guiding thread, and it is not at all obvious (...) whether the political material in Books V–VII has a psychological correlate. This essay develops a psychological reading of key moments in the dialogue where the city-soul analogy fades in favor of more apparently political content. Focusing on the Allegory of the Cave, it argues that when the Cave is read as a “psychic drama,” it discloses reason’s drama within the soul. Like the freed prisoner, reason must be liberated from imprisonment alongside the sub-rational elements of the soul so that it may see the truth by which it can be nourished. However, reason must also descend, like the prisoner, to the sub-rational elements of the soul in order to care for them, for its own sake and for theirs. Read this way, the Republic presents an account of reason which rules the passions in the “precise sense” of Book I, that is, for their sake, and not simply for its own liberation and well-being. (shrink)

A reconstruction based on previously unpublished notes, of Austin’s views of the Line and Cave allegories in Plato’s Republic. In these drafts, Austin discusses the prominent issues that arise in the context of Plato’s Line allegory, e.g. the questions of division and continuity, and shows how the different stages in the Cave allegory correspond to individual sections of the Line.

We are not today close to producing a computer that could convince us that it is intelligent. Some philosophers have argued that we are not even appreciably closer to this goal than we were ten years ago. But why should artificial intelligence even be considered possible? In this paper I shall argue that the temptation to believe in the possibility of AI stems from a misunderstanding about the nature of ideas; further, this misunderstanding can be traced back at least to (...) Plato’s presentation of the metaphor of the cave. A phenomenological view of the nature of ideas removes the temptation to believe in the possibility of AI as presently considered. (shrink)

Gerald A. Press - Virtue in the Cave: Moral Inquiry in Plato's Meno - Journal of the History of Philosophy 40:4 Journal of the History of Philosophy 40.4 535-536 Book Review Virtue in the Cave: Moral Inquiry in Plato's Roslyn Weiss. Virtue in the Cave: Moral Inquiry in Plato's Meno. New York: Oxford University Press, 2001. Pp. x + 229. Cloth, $39.95. Few monographs have been written on the Meno in English; and much of (...) what is written takes a piecemeal approach, emphasizing the dilemma about the impossibility of learning what one doesn't know, the slave boy sequence, knowledge as recollection, concepts of teaching and learning, or right opinion which is sometimes taken as being asserted by Socrates or Plato. Weiss's book has a lot to recommend it. It is the first monographic study on this dialogue in English since Sternfeld and Zyskind's in 1978. Like Weiss's earlier Socrates Dissatisfied ,.. (shrink)

Moving Beyond Theoria Towards Theosis focuses on the telos of man as understood in Plato's theoria, envisioned in the allegory of the cave, and early Christian reinterpretation of theoria as theosis. Central to this is the place of icons in the Orthodox Church.

The idea of a ‘true’ account of pluralism is ultimately contradictory. Liberal political philosophers often fell prey to a special version of this fallacy by presupposing that there might be only one correct argument for justifying the acceptance of pluralism as the core of a liberal democratic polity. Avoiding this trap, Rawls’s ‘political liberalism’ has offered a more sophisticated view of reasonable pluralism as linked with the ‘burdens of judgement’. His philosophical agenda, however, left some questions underexplored: What is the (...) relation of pluralism to relativism? How can a conception of pluralism avoid being either one view among others with no special claim to truth, or a foundationalist claim? If pluralism is a fact, in what sense can it bind us? These questions – crucial for grasping the distinctiveness of ‘political’ liberalism – are addressed by revisiting Plato’s simile of the cave, in order to make it accommodate the groundbreaking Rawlsian notion of the ‘r... (shrink)

beginning with Plato, and moving through Descartes, Marx, and Susan Griffin's Woman and Nature. [1] This sequence of writers displays a developing critique of idealism, the assumption that reality is determined by pure thought. Conversely, we also see in them a growing appreciation of the material world and the human body.

This book addresses the problem of fully explaining Socrates’ motives for philosophic interlocution in Plato’s dialogues. Why, for instance, does Socrates talk to many philosophically immature and seemingly incapable interlocutors? Are his motives in these cases moral, prudential, erotic, pedagogic, or intellectual? In any one case, can Socrates’ reasons for engaging an unlikely interlocutor be explained fully on the grounds of intellectual self-interest? Or does his activity, including his self-presentation and staging of his death, require additional motives for adequate (...) explanation? Finally, how, if at all, does our conception of Socrates’ motives help illuminate our understanding of the life of reason as Plato presents it? By inviting a multitude of authors to contribute their thoughts on these question—all of whom share a commitment to close reading, but by no means agree on the meaning of Plato’s dialogues—this book provides the reader with an excellent map of the terrain of these problems and aims to help the student of Plato clarify the tensions involved, showing especially how each major stance on Socrates entails problematic assumptions that prompt further critical reflection. (shrink)

The narrative of Plato’s cave story is loaded with ‘some of the most suggestive opposites in the repertoire, namely the contrasts between down and up, darkness and light, chains and freedom’ (Hrach...

There is a widespread belief in Philosophy for Children that Plato, the famed Greek thinker who introduced philosophizing to the world as a form of dialogue, was averse to teaching philosophy to young children. Decades of the implementation of P4C program’s inquiry pedagogy have shown conclusively that children are not, in fact, incapable of receiving philosophical training and education. But was Plato wrong? Or has he been largely misunderstood? Does his theory of education show the value of cultivating (...) virtues in the young? This paper attempts to answer these questions by reading the Republic, specifically Plato’s theory of education and the allegory of the cave, as an education manual that can strengthen one’s understanding of the pedagogical approach of P4C and the importance of educating children in wisdom and other intellectual virtues. It demonstrates that the Platonic conception of education is consistent with P4C’s theoretical position of education being transformative, facilitative, and virtue-based. By unpacking the symbolisms and meanings of the cave metaphor, it also discusses effective facilitation, teacher capacity building, and sharing of responsibility in education. Ultimately, drawing from Plato’s theory of education can recalibrate and improve the way one sees the role of education in building caring communities that empower learners and educators for democracy, higher learning, and achievement. (shrink)