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.

Hunting Plato's Agalmata

In this essay I argue that to understand Plato's philosophy, we must understand why Plato presented this philosophy as dialogues: namely, works of literature. Plato's writing of philosophy corresponds to his understanding of philosophy as a transformative way of life, which must nevertheless present itself politically, to different types of people. As a model, I examine Lacan's famous reading of Plato's Symposium in his seminar of transference love in psychoanalysis. Unlike many other readings, Lacan focuses on Alcibiades' famous description of what caused his desire for Socrates: the supposition that beneath Socrates' Silenus-like language and appearance, there were agalmata, treasures, hidden in his belly. I argue that this image of Socrates can also stand as an image for how we ought to read and to teach Plato's philosophy: as harbouring different levels of insight, couched in Plato's philosophy as literature.

Ways of the philosopher : what Plato didn't say

Socrates' search is for direction in life, for how one should live. For him, an unexamined life is not worth living. The suggestion in this thesis is that Plato follows Socrates in asking the extremely relevant and practical question that seeks to discover the sort of life worthy of the human individual. For Plato, the answer involves the pursuit of knowledge and wisdom, it is, in short, to do philosophy. Socrates regards genuine philosophy as active and dialectical. Plato accepts the challenge of conveying this through the written word. Implicit in his dialogues is the idea that human wisdom is a fusion of the spiritual and the rational. The philosophic life is realised in practice by following the three interdependent ways of the philosopher, these are the ways of dialectics, death and love. These identify the philosophic life with a critically detached, yet passionate attitude to the world. However, this practical teaching is guided and informed by Plato's metaphysics, in particular his idea of the Good. A major task of this thesis is to show how the idea of the Good is relevant to ordinary human conduct.

Inspiration and mimesis in Plato's criticism of poetry

Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Plato’s criticism of poetry, very little work exists which discusses the connection between them. This study examines Plato’s treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the ‘inspiration’ dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the ‘mimesis’ dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the ‘one man, one job’ creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.

Inside Plato's cave (after Irigaray)

Coventry University exhibition curated by Rosemary Cisernos

Hunting Plato's agalmata

In this essay I argue that to understand Plato's philosophy, we must understand why Plato presented this philosophy as dialogues: namely, works of literature. Plato's writing of philosophy corresponds to his understanding of philosophy as a transformative way of life, which must nevertheless present itself politically, to different types of people. As a model, I examine Lacan's famous reading of Plato's Symposium in his seminar of transference love in psychoanalysis. Unlike many other readings, Lacan focuses on Alcibiades' famous description of what caused his desire for Socrates: the supposition that beneath Socrates' Silenus-like language and appearance, there were agalmata, treasures, hidden in his belly. I argue that this image of Socrates can also stand as an image for how we ought to read and to teach Plato's philosophy: as harbouring different levels of insight, couched in Plato's philosophy as literature.

The aesthetics of ideology, or 'the critique of ideological judgment' in Eagleton and Zizek

The notions of ‘ideology’ and ‘critique of ideology’ have been criticised in many ways. This essay examines the works of two contemporary theorists who defend this theoretical category. Interestingly, both do this through pivotal recourse to categories drawn from modern aesthetic theory, and in particular Kant's third Critique. In this way, they reanimate a theoretical concern with the intersection of politics and aesthetics that goes as far back as Plato. The essay's conclusion reflects on this "aesthetic turn" in the theory of ideology: what work it allows, and its limits.

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.

Faking it for real

Jean Baudrillard suggests that the supremacy of the simulacra is a modern development, reality a construction of the U.S. His argument, given the U.S. penchant for breaking and remaking the world in its own image (it is, in the language of Baudrillard, both iconoclast and iconolater), is strong. However, writers, artists, and philosophers have been pondering the reign of illusion for millennia. Plato described the world as a place of simulations that left us wanting. For Shakespeare, the world was a stage of fools; the play was that of an idiot. Goya presented the world as a dream of reason that gave birth to the monsters he painted. Borges (like Shakespeare and also perhaps Goya and Plato) was obsessed with what he refers to in "Tlön, Uqbar, Orbis Tertius" as the "atrocious or banal" idea that reality, as we know it (which is, of course, the only perspective of it that we can have), is fake. The three books under review here, Ian Miller's Faking It, Penny Cousineau-Levine's Faking Death: Canadian Art Photography and the Canadian Imagination, and Paul Matthew St Pierre's A Portrait of the Artist as Australian: L'Oeuvre bizarre de Barry Humphries, can be considered additions to the oeuvre fascinated and troubled by what Borges calls the "phantasmagorias" of our world

Aesthetic dimensions of educational administration and leadership

The Aesthetic Dimensions of Educational Administration and Leadership provides an aesthetic critique of educational administration and leadership. It demonstrates the importance of aesthetics on all aspects of the administrative and leadership world: the ways ideas and ideals are created, how their expression is conveyed, the impact they have on interpersonal relationships and the organizational environment that carries and reinforces them, and the moral boundaries or limits that can be established or exceeded.

The book is divided into three sections.
Section I examines various philosophical traditions in aesthetics as they inform administrative life, focussing on major modern traditions arising from Kant, romanticism and Nietzsche, Collingwood, the pragmatic school, and critical theory.
Section II explores four aesthetic sources for administrative critique - architecture, literature, film, and movement - as they serve both to understand the social construction of administration and leadership and provide a critique of values, roles, power and authority.
Section III examines more topical and applied problems of charisma, heroism, and authority in practice, concluding with a discussion of the aesthetic analysis of politics and power within the context of contemporary educational administration and leadership theory.

While presenting a significant departure from conventional studies in the field, the international contributors reflect a continuity of thought on the creation, use and abuse of administrative and leadership authority from the writings of Plato through to contemporary theory. This book should appeal to school administrators and leaders and those aspiring to these roles.

Presbyterian ethos and environment in the novels of John Buchan : a religious and historical study

The aim of this thesis is to establish, from a historical and religious perspective, that the Presbyterian ethos and environment in which John Buchan was reared was the predominating influence in the writing of his novels. Presbyterianism was not the only influence on Buchan that determined the character of his stories. Buchan was by temperament a romantic, and this had considerable influence on his literature. His novels are romances, peopled by romantic figures who pursue romantic adventures. There are the signs of Buchan's romantic nature in the contents of the novels: creative imagination, sensitivity to nature, and expectations of the intrusion of other worlds, with destiny-determining events to follow. But Buchan had also an acquired classicism. His studies at Glasgow and Oxford Universities brought him in touch with a whole range of the master-pieces of classical literature, especially the works of Plato and Virgil. This discipline gave him clarity and conciseness in style, and balanced the romantic element in him, keeping his work within the bounds of reason. At the heart of Buchan's life and work, however, was his deeply religious nature and this, while influenced by romanticism and classicism, was the dominant force behind his work. Buchan did not accept in its entirety the Presbyterian doctrine conveyed to him by his father and his Church. He was moderate by temperament and shrank from excesses in religious matters, and, being a romantic, he shied away from any fixed creeds. He did embrace the fundamentals of Christianity, however, which he learned from his father and his Church, even if he did put aside the Rev. John's orthodox Calvinism. The basic Christianity which underlies all Buchan's novels has the stamp of Presbyterianism upon it, and that stamp is evident in his characters and their adventures. The expression of Christianity which Buchan embraced was the Christian Platonism of seventeenth century theologians, who taught and preached at Cambridge University, They gave prominence to the place of reason and conscience in man's search for God, They believed that reason and conscience were the ‘candle of the Lord’ which was existed every one. It was their conviction that, if that light was followed, it would lead men and women to God. They were against superstition and fanaticism in religion, against all forms of persecution for religious beliefs, and insisted that God could only be known by renouncing evil and setting oneself to live according to God’s will. This teaching Buchan received, but the stamp of his Presbyterianism was not obliterated. The basic doctrines which arose from his father's Presbyterianism and are to be found in Buchan's novels are as follows: a. the fear (or awe) of God, as life's basic religious attitude; b. the Providence of God as the ultimate determinative force in the outcome of events; c. the reality, malignity and universality of evil which must be forcefully and constantly resisted; d. the dignity of human beings in bearing God's image; e. the conviction that life has meaning and that its ultimate goal, therefore, is a spiritual one - as opposed to the accumulation of wealth, the achieving of recognition from society, and the gaining access to power; f. the necessity of challenge in life for growth and fulfilment, and the importance of fortitude in successfully meeting such challenge; g. the belief that, in the purpose of God, the weak confound the strong. These emphases of Presbyterianism are to be found in all Buchan's novels, to a greater or lesser degree. All his characters are serious people, with a moral purpose in life. Like the pilgrims of the Bible, they seek a country: true fulfilment. This quest becomes more spiritual and more dearly defined as Buchan grows in age and maturity. The progress is to be traced from his early novels, where fulfilment is sought in honour and self-approving competence, as advocated by classicism; to the novels of his middle years, where fulfilment is sought in adventures suggested by romanticism. In his final novel Sick Heart River. Buchan appears to have moved somewhat from his earlier classicism and his romanticism as the road to fulfilment. In this novel, Buchan expresses what, for him, is ultimate fulfilment: a conversion to God that produces self-sacrificing love for others. The terminally-ill Edward Leithen sets out on a romantic adventure that will enable him to die with dignity, and so, in classic style, justify his existence. He has a belief in God, but in a God who is almighty, distant and largely irrelevant to Leithen's life. In the frozen North of Canada, where he expects to find his meagre beliefs in God's absolute power confirmed by the icy majesty of mountain and plain, he finds instead God's mercy and it melts his heart. In a Christ-like way, he brings life to others through his death, believing that, through death, he will find life. There is sufficient evidence to give plausibility to the view that Buchan is describing in Leithen his own pilgrimage. If so, it means that Buchan found his way back to the fundamental experience of the Christian life, conversion, so strongly emphasised in his orthodox Presbyterianism home and Church. However, Buchan reaches this conclusion in a Christian Platonist way, through the natural world, rather than through the more orthodox pathway of Scripture.

Beyond mimesis : place, interpretation and response

My study examines the subjective nature of artistic interpretation through the notion of mimesis as process or transformation of material. Influential factors that mediate in the artistic process, such as memory, reflection and an awareness of cultural analogy and metaphor, are examined and related to a specific project in the studio, where the mediation process is further influenced by the materials used to produce the images. My studies of the concept of mimesis have revealed an intermediary realm that exists in the space between empirical reality and its interpretation. Throughout history the process of mimesis has been integral to all forms of the arts. In Plato's time the production of an image that simulated things as they appeared to the eye was considered a desired ideal. Aristotle later introduced developments which extended this concept to include a refiguring or reforming of material derived from the original source, making new connections between existing factors and in this transformation bringing new meanings to a symbolically constituted world. This discussion of the representation of reality, the influence of a dialogue between notions of imitation and the recreation of material continues throughout the exegesis. My study emphasises the interpretive stage of the mimetic process where a consideration of these themes is most relevant and some of the factors that can influence its outcome. It is my opinion that the production of images in response to the particularities of place can be defined in three stages. Firstly, the experience of the place; secondly, the beginning and maturation of the idea or concept; where mimesis takes place, and thirdly, the production of the art work in response. This process is illustrated in Part 2 of the exegesis, where the development of the studio work is documented and linked with the themes discussed in Part 1. The geographic site or place I selected to study is adjacent to Mt. Noorat, a volcanic site in the Western district of Victoria; the surrounding plains are littered with scoria that has been thrown out of the volcano thousands of years ago. Early British, Scottish and Irish settlers to this region used the stone to construct fences reminiscent of their homeland, through this activity they cleared the land and confined and protected their stock. My interests are in factors that include - the material of the stone, notions of enclosure and safety, of boundaries and circumscribed space, and of the cultural reflection that has taken place in this reconstruction of Eurocentric vision. These walls also represent the means by which land was enclosed and property defined, moving from a situation of public access to notions of ownership and the annexation of land for individual gain. Around each point of eruption, the craggy volcanic scoria has been used to create a constructed landscape which both symbolises and mirrors the Anglo - Celtic origins of the people. I have used the legend of Narcissus to illustrate the self-reflective and introspective processes that the settlers invoked in their attempts to come to terms with a strange land. I consider that the story of Narcissus, who fell in love with his own reflection, finds a parellel in the creation of the walls. The re-creation of artifacts from their own cultural environment provided the settlers with a familiar 'face' in an alien world; a reassurance of the familiar in an unfamiliar terrain. Part of this study is an investigation of this notion of landscape as cultural reflection. Geographers have long known that landscape is a cultural construct, an historically evolving ideal manifested in painting, prints and drawings as well as poetry, gardens and parks. One can view these constructions as illustrations or images of meaning which constitute representations of cultural ideals. The neo-classical influence reflected in the paintings of artists who accompanied the early expeditions to Australia demonstrates these themes. The medium of the mirror provides the opportunity to suggest aspects of a cultural reflection and an awareness of identity that has relevance to contemporary Australian culture, therefore, I have allowed it to play a major role throughout this study. Its role in mimesis, firstly, as a reflection in an imitative sense is established, then in its refigurative role, in which the similarities between the original and the reformed rely more on correlative factors than representation. I have used examples from the history of art to illustrate this potential. The formation and development of a narrative involving reflection threads throughout the thesis, both in the visual presentation and in the exegesis. The production of a body of paintings, drawings and sculpture reflect my interpretation and response to the particular site. The correspondences between these works and my theoretical concerns is articulated in the exegesis. The metaphor implied by the use of the walls as agents of enclosure also refers to the capacity of the individual to be confined by notional boundaries and restrictive practices where totalising systems of thought dominate theoretical debate and restrict its freedom. I have used images where gaps in the walls represent the potential implicit to the concept of liminal space, where the spectator moves from one physical space to another and from one stage of development to another. The threshold of this opening in the walls becomes the site where transformation can take place, a metaphor for the mimetic process where the initial experience is translated and transformed into the final product. The paintings, drawings and other works in this series fulfil the role of marks on the surface of the mirror, separating the initial experience from the processes of memory, reflection and speculation. The works draw attention to the materiality that they represent and yet provide the opportunity for new insights and experiences, allowing the subjective nature of artistic activity to combine symbolic elements relating to the site, resulting in the production of meaning.

Sophistic 3.0 and the end of media relations

This paper looks at Web 2.0 as a new form of discursive art which may be changing human subjectivity - which may be producing new kinds of people. It casts the Web 2.0 era as the 'Third Sophistic' in comparison to the two other sophistics: (1) the period from the Ancient Greek Enlightenment when grammar, rhetoric and dialectic were invented by the original pre-Socratic sophists up until the times of Plato, Aristotle, and Isocrates; and (2) the Second Sophistic in the early centuries of the Common Era when 'epideictic,' that is subtle, artistic rhetoric was perfected. These sophistics marked alterations in the possibilities for human cultural expression and conception. Are we experiencing a 'Sophistic 3.0'? If so what are the likely consequences for contemporary discourse and its media?