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EN
Plato’s Protagoras belongs to the most read and analyzed works of the philosopher. Interest is aroused not only by the content of the work, but also by its form: diligent composition, elaborate descriptions of characters and dramatic nature of separate scenes, although the work belongs to the group of narrative dialogues. The aim of this article is to analyze the prologue of Protagoras, which consists of five scenes (309a–316a), to answer the question what function they have and how important role they play in this dialogue.
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Z rodowodu klasycznego prawa naturalnego

99%
EN
The issue of natural law has been mentioned by almost all philosophers of law, from the classical ones of ancient Greece to contemporary postmodernists, and is presented in various ways. In compliance with Cicero’s observation that “history is the herald of the future” we have attempted to go back to the sources and to start our considerations ab ovo. The historical review does not address systematically the issue discussed here, and only serves to properly explain what natural law in a classical reflection of ius naturale is. Therefore, our approach to the classical natural law has been narrowed down to three selected sophists, Socrates, Plato and Aristotle, and their views of ius naturale in opposition to ius positivum have been briefly outlined. The article consists of two parts: the first one entitled From Heraclitus to Socrates and the second entitled From Plato to Aristotle. The first part presents sophists’ views on the law of nature. It is worth noting that sophists did not analyse the essence of the law of nature; they were primarily interested in the relationship of the law of nature to positive law. Thus Socrates, by deriving the existence of universal and unchanging laws from human nature, gave birth to the doctrine of natural law with unchanging content. The second part contains the views of Plato and Aristotle on the question of the law of nature. Plato is considered to have discovered the ideal trend of natural law, although in his dialogues the term “law of nature” is not found. It was the theory of Plato’s ideas that became the model for the concept of lex aeterna as an arrangement of divine ideas. Whereas, Aristotle distinguished two types of good that law puts before man, and accepts them as the basis for the dichotomous division of laws. He described good that is indifferent to man, which due to specific circumstances becomes the object of his desire, as positive law. Good that is closely related to the nature of man, which is always and everywhere the object of his desire, is good indicating the natural law.
Peitho. Examina Antiqua
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2017
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vol. 8
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issue 1
201-212
EN
Plato’s dialogues can be regarded as the most important documents of the extraordinary mimetic power of visual writing, i.e., writing capable of “showing” and “drawing images” by using words only. Thanks to the great lesson of the Attic theater, Plato makes his readers see: when reading the dialogues, they see not only the characters talking but owing to the visual power of mimetic writing, they also see that which the characters are actually talking about. There are numerous rhetorical devices employed by Plato the writer that make this visual rendering of philosophy possible. In this text, I would like to bring an example from the Meno that illustrates the visual power of an implicit comparison. By “implicit comparison”, I mean the special kind of comparison that is not presented explicitly and fully in the text but that the text merely evokes and that, once evoked, contributes to determining the formation of the image.
EN
It is often assumed that the concept of alētheia, or ‘truth’, in Gorgias of Leontini belongs to the art of rhetoric. Along these lines, it is usually understood as an aesthetic concept or even a mere ‘adornment’ of speech. In this paper, it is argued, by contrast, that Gorgianic alētheia is a definable criterion of speech figuring in the practice of moral education. While the ‘truth’ of a logos indeed has to be assessed on aesthetic grounds, the underlying concept of alētheia is predominantly ethical. For Gorgias, speech is ‘true’ when it promotes virtue (aretē) by being expressive of virtue. The principle stated in the opening passage of the Encomium of Helen, that a speaker has ‘to praise what is praiseworthy and to blame what is blameworthy’, explains precisely this understanding of alētheia.
EN
The question asked by Socrates in Plato’s Eutyphro: ’Is the pious dear to the gods because it is pious, or is it pious because it is dear to the gods?’ can be understood as symbol of a growing tension between religion and philosophy (faith and reason). Additionally, this question is linked to a crucial issue of morality’s foundations because a question ‘what is pious?’ can be interpretated as a question ‘what is morally right?’ in particular religion. Socrates’ question about the meaning of piety not only is important itself but also because of its reason and consequences. It represents the beginning of the process that lead to conclusion that only reason can decide what is pious. This conclusion is an essential feature of the Western thought because it was underlying philosophical theology evolving since Antiquity and natural religion born in Modern Age. The platonic paradigma that only the Good can be divine is applied to both of them. The question I raised in my article has ancient origin. Nevertheless, it is universal and transhistorical question, important for Modern World.
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Aristotelova první filosofie a první filosofové

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EN
The author addresses the issue of the origin of the discipline that we call metaphysics. First he briefly describes the difficulties associated with Aristotle’s extant metaphysical concept: problems with the character of his treatise Metaphysics, problems with the arrangement of the individual books, and even problems with the title – all related to the problematic lack of clarity in the discipline itself. He then presents an overview of the common solutions to these difficulties in the conclusion to the first part of the article. In the second part, the author provides a detailed analysis of one of the possible interpretative hypotheses: that Aristotle’s metaphysics is a continuation of the pre-Socratic tradition and, in fact, only explicitly articulates a general, foundational theme of philosophy. This interpretation is closely related to Jan Patočka’s universal concept of metaphysics. By analyzing the textual evidence of the doctrines of the archetypal pre-Socratic candidates for a first metaphysics, the author concludes that, in agreement with recent research, these thinkers do not share Aristotle’s metaphysical approach. Differently from Patočka, the author thereby concludes that we can meaningfully talk about a pre-metaphysical philosophy.
CS
Autor se zabývá problémem původu disciplíny zvané metafyzika. Nejprve nastiňuje obtíže spojené s rekonstrukcí Aristotelovy metafyzické koncepce: problémy s charakterem spisu Metafyzika, problémy s řazením jednotlivých knih, ba dokonce problémy s názvem – to vše souvisí s problematickou nevyjasněností disciplíny samé. V závěru první části prezentuje přehled obvyklých řešení těchto obtíží.
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