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)

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)

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)

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)

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)

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 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)

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)

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)

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)

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)

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)

Reviews have something in common with the structure of reflection. Just as a reflection can in turn be made the object of a reflection, a review also can in turn be made the object of a further review - and so on ad infinitum, as Hegel was frequently accustomed to say. The fact that there is an evident risk of such a progression ad infinitum, once one embarks on the path of reviewing a review, should not, however, prevent one from (...) taking at least the first step along this path when it is necessary to do so. (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.

A provocative study of the complex relations between philosophy and journalism.

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)

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 article considers Plato’s view of philosophy depicted in his cave analogy in light of Arendt’s distinction between Socratic and Platonic philosophy. Arendt argues that philosophy functions, for Socrates, in an immanent world, characterized by examining and considering—in addition to refining opinions through persuasion about—the currency of politics, which thereby closely associates philosophy with politics. On her view, Plato makes philosophy transcend politics—the world of opinion—when Socrates fails to persuade the Athenians. The cave analogy seems to support Arendt’s (...) view that Plato disparages the immanent philosophical project she associates with Socrates. I argue that Plato depicts in the cave analogy particular difficulties in judging the assertion of the one who claims to have left, since, in the cave, that assertion becomes an opinion among opinions because it cannot be evaluated with reference to a transcendent truth by those in the cave. As a result, those in the cave cannot discern whether the one claiming to have left has the knowledge required to rule justly or is a tyrant claiming to have such knowledge in order to secure power. I conclude that Plato depicts the cave and its difficulties to invite the reader to engage in a philosophical project of judging for oneself, rather than accepting the rule of another who claims to know. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Womb as Synecdoche: Introduction to Irigaray’s Deconstruction of Plato’s CaveKristi L. Krumnow (bio)“Le prisonnier n’était déjà plus dans une matrice mais dans une caverne, tentative de figuration, de métaphorisation, de la cavité utérine.”(347)1Entering the used bookstore in a university city not too far from Paris, I was anxious to find a copy of a certain Luce Irigaray book. When asked, the bookstore owner politely mocked me about wanting one (...) of her books. What could I possibly want that for? After all, the study of Irigaray was very popular in the 1970s and 1980s, but today, “C’est bien passé, Madame,” he enlightened me. While the bookshop owner was correct in assessing a time frame of the academic popularity of Irigaray’s work, I would argue that the work she did at the onset of 1970s feminism is no more passé than the philosophers she deconstructed. For this reason, I read Irigaray’s work alongside the work of founder-philosopher-father Plato, in order to highlight the timeless relevance of a supposed irrelevant work as “passé” as Luce Irigaray’s Spéculum de l’autre femme. In this analysis, I argue that the negligence of her reading of Plato’s cave and subsequent amnesia of it clearly substantiate her steadfast claim that masculine universality eradicates the feminine and does so quite ironically and even jarringly, as shown by the critical dismissal of Plato’s cave in Spéculum.2Irigaray’s work does indeed come out of a French national context highly invested in the studies of antiquity and, by the postwar ’60s and ’70s, in the questioning of social, cultural, and political institutions (Egéa-Kuehne 200; Leonard, “Irigaray’s Cave” 159–64; Leonard, “Classics” 143; Leonard,Athens 1–14), but this historical fact does not marginalize her work nor subject it to a mere temporal estrangement of feminism, as the male bookstore owner had insinuated. It certainly is a point of fact that Irigaray questioned the father of Western philosophical truth. In fact, reconsidering Plato was tempting to someone, like Luce Irigaray, invested in cultural and academic revolutions, someone who questioned and doubted, like other cultural revolutionaries3 of the late 1960s and early ’70s. The bookstore owner seemed to be saying that the tide has returned to normal, that is, the “normal” that signifies complacency, the “normal” that no longer questions the supposed truth-bearers. He seemed to be pontificating, “it is no longer status quo not to be status quo,” or more precisely, “The revolution is over. Now, go home, girls.” [End Page 69]Spéculum de l’autre femme, the WholeLuce Irigaray’s work Spéculum de l’autre femme [Speculum of the Other Woman]4 is anything but status quo. In an idiosyncratic prose indicative of her deconstructive project, Irigaray daringly reads untouched historical and philosophical works, ones that for millennia have remained a critical and foundational part of Western discourse. Her methodology is complex and knotty because the rhetoric used twists and winds through its own words, sentences, scenes, and discourse, thereby intentionally effecting an implosion within language.5 While on the one hand she innocently participates in an evaluation of Platonism that Derrida made fashionable a few years prior with “deconstruction” of “La Pharmacie de Platon” (Leonard, Athens 190), what she unveils by rereading Plato’s work à la Derrida is the proliferation and predominance of certain philosophical images and ideas. She names this proliferation “patriarchy,” referencing the “phallus” as the symbol of patriarchy and its dominant masculine discourse, thereby calling every thing masculine-related “phallologic,” all of which are neologisms borrowed and employed from either Derrida or her teacher Lacan. Inevitably, she centers her whole argument on certain Western texts as the cause and consequent advancement of the masculine. Spéculum appears daunting in its 462-page French original,6 although no less truncated, albeit ordered, footnoted, and proportionally spaced, in the English translation (Gill 9). In order to facilitate comprehension of a charged and impressive topic, Irigaray relies on images to elucidate her reading by employing ambitious albeit ancient Greek philosophical metaphors of light, sun, and vision. As she does... (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 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)

Plato noticed a sizeable problem apropos of establishing his republic—that there was always a ready pool of zealous potential rulers, lying in wait for a suitable opportunity to rule on their own tyrannical terms. He also recognized that those persons best suited to rule, those persons with foursquare and unimpeachable virtue, would be least motivated to govern. Ruling a polis meant that those persons, fully educated and in complete realization that the most complete happiness comprises solitary study of things unchanging, (...) would have to compromise their happiness for the wellbeing of their polis and of the people in it. Plato’s solution, in effect that the aristoi would merely recognize their duty to sacrifice personal happiness for the happiness of the polis, has perplexed and continues today to perplex scholars. Like Plato, Jefferson recognized that there was always a pool of eager sharks, ready to govern. His republicanism, comprising a ward system and general education, was founded on the fullest participation of its citizenry, suitably educated and a governing aristoi. The true aristoi, the “natural aristoi”, are the intelligent and virtuous and that government is best which allows for a “pure selection” of the natural aristoi into the governing offices. Nonetheless, as Jefferson’s own life shows, non-parochial governing meant being rent from domestic tranquility, being forced to leave behind one’s personal affairs to decay, and being tossed willy-nilly into the coliseum of nonstop political wrangling. Why would anyone, particularly one wanting to be happy, wish to govern? Thus, Jefferson faced the same problem that Plato faced. How could a state be structured so that the wisest and most virtuous would be motivated to rule? In this paper, I argue that Jefferson, in full recognition of the problem of encouraging the most intelligent and virtuous to govern, the problem of public service, offers a solution that is remarkably Platonic. (shrink)

This article traces three features of contemporary educational thought that at first sight appear to be quite different and distinct, but are, it is argued, linked in a discursive formation that constitutes a regime of truth in educational thinking and policy. Using Foucauldian categories, it argues that a discursive formation connects the identity of the ‘autonomous learner’ with the ‘evidence-based’ movement, via the powerful scientific discourse of cognitive psychology—in particular through the notion of ‘metacognition’. Despite the rhetoric of personal empowerment (...) and science that seems to legitimate each of these three elements, the regime of truth that results from their combination confirms us as prisoners in Plato’s Cave—manacled so that all we can see is the shadow-play on the walls of our prison. (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 allegory is among the most well-traversed passages in Plato's dialogues and deservedly so. Its emotional impact is undeniable, yet it confronts the reader with several problems of interpretation. There is a strong sense that it is of central importance to the crucial questions of the Platonic philosopher's education and his role in society, and it possibly holds one key to an understanding of the Republic as a whole.

This chapter provides readers with an understanding of some basic principles of selected Eastern traditions and their relation to philosophy of education. The attempt to characterize such diverse traditions and understandings of education raises numerous hermeneutical issues which can only be addressed through a pedagogical reduction as a vehicle for understanding. In this case, we have employed Plato’s cave allegory as that methodological and pedagogical vehicle. We explore aspects of the ontology, epistemology, and ethics of Buddhist, Hindu, Daoist, and (...) Confucian traditions, interpreting elements from Plato’s allegory in order to throw light onto the educational ideas and implications of those Eastern traditions. The chapter begins with an account of Plato’s cave and its general themes that are relevant to interpreting educational theories. We then move into an examination of the particular ideas and practices that reveal pedagogical concerns within the four traditions, attempting to show how these ideas can be interpreted with Plato’s cave. We conclude the chapter by pointing to some themes and commonalities that might merit the term ‘Eastern philosophy of education’. We ask whether the cave is suggestive of a state of illusion or ignorance and whether what is at stake is both epistemological and ontological. We suggest that the analytical distinction between knowing and being becomes questionable, even untenable, as the ethical and philosophical concerns are interwoven by Eastern traditions in rich and complex ways. (shrink)

No part ot Plato's writings has been more debated than the three similes in Books VI.-VII. of the Republic, and still there is a diversity of opinion about their meaning. I believe that most of these difficulties arise from certain assumptions about their purpose which need revision. The current view applies the Cave to the Line, as Plato seems to direct, and this application, which is itself attended by considerable difficulties, leads to an assimilation of the two figures (...) till they seem to have much the same content and purpose. Again, as this makes the lower line appear to be the phenomenal world, it is thought that the simile of the sun foreshadows the theme of the Line by hinting at a connexion between the intelligible and the sensible which is made more explicit in the Line. Thus the group of similes seem mainly intended to show the dependence of Becoming upon Being. This paper will argue that such a view depends upon the misrepresentation of the symbolism adopted by Plato, that two antithetical groups of symbols are confused with one another, and that symbols are even identified with antitypes. Owing to these misinterpretations the Form of the Good has been mistaken for a material cause; both the Line and the Cave have been thought to reveal Plato as embarrassed by a dualism between sense and intellect, and the purpose of the Cave in particular, since the error is cumulative, has been completely obscured. This paper will attempt to substitute for current accounts another interpretation which will relate the three similes closely with the political arguments of Book VI., and with the Platonic education which is set forth in close connexion with them. (shrink)

Martin Heidegger is one of the most important and influential philosophers of the 20th Century. A major figure in the development of phenomenology, his work also profoundly influenced many of the intellectual movements that followed in his wake, from Sartre's Existentialism to Derrida's deconstructionism. Towards the Definition of Philosophy brings together two seminal lectures that mark a breakthrough moment in Heidegger's thought and introduces the major themes that he would develop in his opus Being and Time.