The Sophists (Ancient Greek)

The sophists were itinerant professional teachers and intellectuals who frequented Athens and other Greek cities in the second half of the fifth century B.C.E. In return for a fee, the sophists offered young wealthy Greek men an education in aretē (virtue or excellence), thereby attaining wealth and fame while also arousing significant antipathy. Prior to the fifth century B.C.E., aretē was predominately associated with aristocratic warrior virtues such as courage and physical strength. In democratic Athens of the latter fifth century B.C.E., however, aretē was increasingly understood in terms of the ability to influence one’s fellow citizens in political gatherings through rhetorical persuasion; the sophistic education both grew out of and exploited this shift. The most famous representatives of the sophistic movement are Protagoras, Gorgias, Antiphon, Hippias, Prodicus and Thrasymachus.

The historical and philological difficulties confronting an interpretation of the sophists are significant. Only a handful of sophistic texts have survived and most of what we know of the sophists is drawn from second-hand testimony, fragments and the generally hostile depiction of them in Plato’s dialogues.

The philosophical problem of the nature of sophistry is arguably even more formidable. Due in large part to the influence of Plato and Aristotle, the term sophistry has come to signify the deliberate use of fallacious reasoning, intellectual charlatanism and moral unscrupulousness. It is, as the article explains, an oversimplification to think of the historical sophists in these terms because they made genuine and original contributions to Western thought. Plato and Aristotle nonetheless established their view of what constitutes legitimate philosophy in part by distinguishing their own activity – and that of Socrates – from the sophists. If one is so inclined, sophistry can thus be regarded, in a conceptual as well as historical sense, as the ‘other’ of philosophy.

Perhaps because of the interpretative difficulties mentioned above, the sophists have been many things to many people. For Hegel (1995/1840) the sophists were subjectivists whose sceptical reaction to the objective dogmatism of the presocratics was synthesised in the work of Plato and Aristotle. For the utilitarian English classicist George Grote (1904), the sophists were progressive thinkers who placed in question the prevailing morality of their time. More recent work by French theorists such as Jacques Derrida (1981) and Jean Francois-Lyotard (1985) suggests affinities between the sophists and postmodernism.

This article provides a broad overview of the sophists, and indicates some of the central philosophical issues raised by their work. Section 1 discusses the meaning of the term sophist. Section 2 surveys the individual contributions of the most famous sophists. Section 3 examines three themes that have often been taken as characteristic of sophistic thought: the distinction between nature and convention, relativism about knowledge and truth and the power of speech. Finally, section 4 analyses attempts by Plato and others to establish a clear demarcation between philosophy and sophistry.

Philosophy and the view from above in Alejandro's Amenabar's agora

 This paper examines the depiction of neoplatonic philosopher, geometer and astronomer Hypatia in Alejandro Amenabar's 2010 fil Agora.  The paper uses Pierre Hadot's work, and his arguments that ancient philosophy was conceived as a way of life, aiming at the ideal existence of the sage, and characterised by spiritual exercises.  The paper argues that Amenabar's film employs the technique of the view from above, one such spiritual exercise, wherein the agent relooks at his or life sub spaecie aeternitatis or 'from above', to frame Hypatia's life and death, and the end of the pagan epoch in Alexandria.

'O que é o "subalterno" da filosofia da religião? / What Is the “Subaltern” of the Philosophy of Religion?

The The 18th-19th centuries orientalist preoccupations with mythology and ancient perennis lacked both a critical-theoretical sensitivity to historiography anchored in radical historical consciousness and a deep sense of philosophical argumentation, as distinct from discerning mythic patterns of textual (intra-textual or internal) disputation and its interpretative ramifications from another felicitous perspective, usually theology mitigated by whatever remains ‘modern’ in the arts. Philosophy of Religion on the other hand remained heavily straddled in the rigors of logic, reason, analysis, dialectic, reason, reductio, aggressive refutation, within established frameworks drawing from the other branches of philosophy, namely, again, logic, epistemology, ontology and metaphyics. This paper presents a view 'from below' to demonstrate and argue how philosophy o religion must change in the post-colonial era and pay more attention to indigenous patterns of theological thinking and critiquing of Western enlightenment-centred philosophy of religion. It is in Portuguese though.

The poetic presentation of philosophy:Leo Strauss on Plato’s “symposium”

This essay undertakes a close analysis of Leo Strauss’s remarkable but undertreated Leo Strauss on Plato’s “Symposium,” reading it as opening a privileged purview of his own (and his students’) wider understandings of philosophy, poetry, and politics. The essay begins by drawing out Strauss’s three framing justifications for his manner of reading the Symposium as a document in the “ancient quarrel” of philosophy and poetry concerning which of the two should rightly shape the culture and ethical ideals of the Greeks (part 1). Then, following the course of Plato’s Symposium, the essay ascends through Strauss’s readings of the first five speeches in Plato’s dialogue (part 2) toward the highlight of Strauss’s reading, namely, his three remarkable sessions on Socrates’s speech. Part 3 analyses Strauss’s reading of this speech up to its climax, which Strauss argues involves the philosophical “demotion of poetry”: a criticism of poets as motivated by the Eros of fame and of tragic poetry as at its best creating captivating images of gods and heroes which reflect their creators’ self-love and patriotic love of “one’s own,”as against any transpolitical truth. Part 4 then looks at Strauss’s unusual reading of the culmination of Socrates’s great speech (Diotima on the “higher mysteries”) alongside Alkibiades’s speech in the Symposium as representing Plato’s “poetic presentation of philosophy.” The essay becomes more critical as it proceeds. Strauss’s reading of the Symposium, like his reading of the Republic, is remarkable for its own “demotion of metaphysics” in Plato, and in my concluding remarks, I will question this status, or disappearance, of metaphysics in Strauss’s Platonism and whether this disappearance compromises Strauss' ability to differentiate philosophy as he sees it from poetry.

What place discourse, what role rigorous argumentation? Against the standard image of Hadot's conception of philosophy as a way of life

After an introduction situating the piece in light of debates surrounding Hadot et al's work on the history of philosophy, Part I of what follows lays out, as briefly as possible, the 'standard view' of Hadot promoted by the texts that have been translated hitherto, and which has attracted Cooper, Nussbaum et al’s criticisms about misrepresenting--or dismissing-the place of rational argument in philosophy 'comme manière de vivre'. In Part II, will we see how several of Hadot’s as-yet-untranslated pieces, led by 'La Philosophie Antique: Une Éthique ou une Pratique?', indicate his own much more qualified perspectives about the place of discourse in ancient philosophy conceived as a way of life. To argue that philosophy included the paranoetic prescription of imaginative, mnemic, and even somatic exercises to rehape subjects' beliefs, habits, and desires is not to deny that these exercises were justified rationally, or based in rigorous theoretical accounts of the human being and its place in the cosmos.

The design philosophy of Edenic gardens: tracing ‘Paradise Myth’ in landscape architecture

This paper explores the Eden mythology in both western and eastern cultures, and its reflection on people’s perception and use of nature. It aims to examine how cultural ideologies and systems of beliefs in relation to Eden have affected landscape making and how landscape icons influenced other cultures subsequently. This study describes how narratives of Eden evolved and influenced landscape design by explaining the narratives of Paradise and Arcadia in eastern and western cultures as two distinct landscape narratives, with a brief history of their emergence and evolution. It discusses the ways in which landscape architecture reflects the prevailing attitudes towards nature in a society by studying the ancient world’s philosophies and ideologies as a starting-point for this investigation. The paper then focuses on the Persian paradise garden and explains the notion of iconography, as a visual explanation of an idea in landscape design. It projects the transformation of Persian paradise gardens’ icons and patterns in landscape architecture through historical and spatial explorations.

Plato's legacy : How to do philosophy

Although it has its origins earlier, philosophy as we know it in the West took its shape from the Socrates of Plato's Dialogues. It is not implausible to regard the Dialogues as heuristic devices designed for engaging in philosophical inquiry. As such, they would model the process of philosophical inquiry as well as illustrate the common pitfalls or errors to avoid when engaging in such inquiry. So it will not be surprising to see Socrates, the character of the Dialogues, modeling questionable, even poor, inquiry techniques as well as good; admonishing other characters for poor technique and reminding them of lessons they should have learned earlier in their tuition. Plato presumably would expect students reading and role-playing a Dialogue to recognise when and where such instances occur. It is instructive then to take a close look at one of the longer dialogues featuring Socrates engaging in such inquiry, not with an untutored interlocutor, but with a professional, the sophist Protagoras, in order to identify the features of the inquiry itself. For this will reveal something of what Plato conceived to be the activity of philosophy to which we are the heirs. The Protagoras can be read as an illustration (not a definition) of how to do philosophy. And to aid this reading, I propose to focus on the logical form of the inquiry, the moves made by the characters and the techniques displayed, rather than the adequacy of the substantive arguments they mount.

What is the subaltern of the comparative philosophy of religion?

It is claimed that Comparative Philosophy of Religion (CPR) mistakenly builds on the dogmas of comparative religion (or history of religions) and philosophy of religion. Thus, the belief that there are things common and therefore comparable between two or more traditions and that these objects of comparison are of philosophical or theological significance are questions that continue to trouble the field. Just what does one compare, how does one choose what to compare or why, through what methodological and epistemic tools, and who is it that carries out the tasks? But what has remained unasked and unanalyzed are the larger meta-questions concerning the motivation, civilizational presuppositions, cultural parochialism, or legacies of orientalism, modernity, and (post-)colonialism that together affect the boundedness of certain key categories and thematic issues in the comparative enterprise such as God or the Transcendent, Creation, the Problem of Evil, the Afterlife, Sin, Redemption, Purpose, and the End. Is difference with respect to alterity and altarity permissible? If so, what a postcolonial, differently gendered, cross-cultural critique would look like and what is left of CPR are two such questions explored here.

The philosopher's courtly love? Leo Strauss, Eros, and the law

This essay poses a critical response to Strauss' political philosophy that takes as its primary object Strauss' philosophy of Law. It does this by drawing on recent theoretical work in psychoanalytic theory, conceived after Jacques Lacan as another, avowedly non-historicist theory of Law and its relation to eros. The paper has four parts. Part I, `The Philosopher's Desire: Making an Exception, or “The Thing Is...''', recounts Strauss' central account of the complex relationship between philosophy and `the city'. Strauss' Platonic conception of philosophy as the highest species of eros is stressed, which is that aspect of his work which brings it into striking proximity with the Lacanian-psychoanalytic account of the dialectic of desire and the Law. Part II, `Of Prophecy and Law', examines Strauss' analysis of Law as first presented in his 1935 book, Philosophy and Law, and central to his later `rebirth of classical political philosophy'. Part III, `Primordial Repression and Primitive Platonism', is the central part of the paper. Lacan's psychoanalytic understanding of Law is brought critically to bear upon Strauss' philosophy of Law. The stake of the position is ultimately how, for Lacanian psychoanalysis, the Law is transcendental to subjectivity, and has a founding symbolic force, which mitigates against speaking of it solely or primarily in terms of more or less inequitable `rules of thumb', as Plato did. Part IV, `Is the Law the Thing?' then asks the question of what eros might underlie Strauss' paradoxical defense of esoteric writing in the age of `permissive' modern liberalism - that is, outside of the `closed' social conditions which he, above all, alerts us to as the decisive justification for this ancient practice.

Defuturing an architecture of destruction: a reconciliation of Van Berkel and Bos to the new design philosophy of Tony Fry

For some time now Tony Fry has promoted the idea of 'The Sustainment', an idea that asserts a paradigm shift in attitudes to consumption. 'The Sustainment' recognises that increasingly human futures are products of self-determination and not chance. Fry’s hypothesis can be understood through his concept of Defuturing, a philosophy that questions the role of design and the responsibility of designers to facilitating the ability to sustain (Fry 1999).
Central to Fry’s philosophy is an awareness that it is in the best interests of designers and their clients, as inhabitants of cultures increasingly driven by technology, to be aware of the relationships between the products and theories of design and the processes and implications of technological change. This is an awareness that is central to the concepts, work, and methodologies of the ‘UN Studio’ of Van Berkel and Bos described and elaborated upon in Move – Imagination, Techniques, and Effects (Van Berkel & Bos 1999). Here, Ben Van Berkel defines the parameters and methodologies employed by UN Studio in an environment of technological and socio-economic change. The Dutch practice could be said to exemplify something of a zeitgeist in current architectural design that sees architects, as Van Berkel and Bos view them, as “fashion designers of the future, dressing events to come and holding up a mirror to the world (Van Berkel & Bos 1999, back cover).” It is a zeitgeist that Fry might see as aligned to the resilient hype of ‘new creativity’, ‘globalisation’ the ‘romance with technology’, and the vacuous-ness of the world of fashion. (Fry The Voice of Sustainment: on Design Intelligence 2005).
A source of breaking down such design propaganda is identified by Fry in the notion of ‘scenarios,’ which “provide a mechanism for politico-practice assemblage in which dialogues and narratives of change can be rehearsed in ways that enable participants to re-educate themselves via critical confrontations” (Fry The Voice of Sustainment: on Design Intelligence 2005). From such a perspective this paper aims to practically illustrate and ground the Defuturing of Fry by establishing a dialogue between his writings and the theories that have generated the architectural designs of Van Berkel and Bos and there UN Studio. This will be a ‘scenario’ that examines therefore an appropriation and transformation of the applied intellectual practice of Van Berkel and Bos. Through this confrontation we shall explore the question of why sustainability appears to be so low in the agenda of many pre-eminent contemporary architects, and how we might refocus therefore practice and theory on the ability to sustain.