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1

Akrasia w Protagorasie

100%
Price A. W.
Lectiones & Acroases Philosophicae
|
2011
|
vol. 4
|
issue 1
189-212
EN
The main task in this paper is to tackle a problem in the Protagoras whose solution is long overdue - the one posed by the fact that in stating and defending his doctrine of ''the unity of the virtues'' Socrates employs formulae which seem hopelessly at odds both with common sense and with the procedural assumptions of his own dialectic. The proportions of this problem are obscured in standard discussions of this passage.
2

Dialektyka w Protagorasie

100%
Petrželka J.
Lectiones & Acroases Philosophicae
|
2011
|
vol. 4
|
issue 1
51-70
EN
In this paper the dialogue Protagoras is analyzed in light of Aristotle's conception of dialectic as described in the Topics. The aim is to follow those argumentative strategies and other features of discussion between Socrates and Protagoras which represent rules or characteristic steps of dialectical discussions in Plato's and Aristotle's times. This approach to Plato's dialogues (including Protagoras) could extend our understanding of these writings. In the Protagoras the paper detected these dialectical motives described in the Topics: dialectical problems and questions, strategies recommended for questioner as well as for answerer, allusion to all three goals of dialectical discussions, allusion to ''rules and rights'' for both participants of discussion, the opposition of the views of the many and the wise.
3

Sokrates w piekle sofistów: motywy katabastyczne w platońskim Protagorasie

100%
Komorowska J.
Lectiones & Acroases Philosophicae
|
2011
|
vol. 4
|
issue 1
33-50
EN
The essay investigates the interpretative possibilities inherent in the Homeric undertone of the descriptive introduction to the great debate in the Protagoras, its exploitation of the katabastic motives known from the earlier literary tradition and possible allusions to the contemporary dramatic art. Should we take those allusions as indication of the authorial intent, it seems arguable that the references to the underworld voyages of Odysseus (explicit) and Dionysus (possible) may reveal Plato's highly negative opinion concerning the sophistic training and prepare the ground for the imminent clash between the Socratic elenchus and Protagorean sophistry, thus being of particular value in any attempt to reconstruct Platonic psychagogic techniques.
4
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Filozofia jako meditatio mortis (Platon – Montaigne)

80%
Ziemiński I.
Filo-Sofija
|
2006
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vol. 6
|
issue 6
43-58
EN
The idea of philosophy as meditatio mortis is illustrated with the examples of Plato’s and Montaigne’s views. According to Plato, life within body is a kind of evil, and death is the way of release and return to divine life. Philosophy regarded as seeking the truth is at the same time an exercise in dying because it consists in taking off reason from body and senses. Philosophy as meditatio mortis is then preparing to true and eternal life. According to Montaigne, death is the necessary end of human existence, which we should accept without reservation and fear. Philosophy lies in preparing to death as a natural biological event, common to all living creatures. Human dying should be liberated from all ceremonies and cultural rituals because they are the main reasons of our fear and prevent us from accepting death as a natural event.
5

Protagoras Platona: kompozycja, rozgrywka logosów i sokratejska parodia

80%
Wesoły M.
Lectiones & Acroases Philosophicae
|
2011
|
vol. 4
|
issue 1
15-32
EN
Protagoras belongs to one of Plato’s most commonly staged dialogues of Plato. Ancient Greeks characterized it as agonistic (competitive) and endeictic, i.e., merely hinting at, but not offering the final settlement of the dispute in question. In the dialogue, we face an incredible controversy (agon) between Socrates and Protagoras. While the controversy concerns the value of the Sophist’s teaching of civil virtue for money, it is combined with numerous other themes and tensions which culminate in the philosopher’s ensnaring of his interlocutor. Thus, the dialogue is characterized by its dramatic composition with a (double) prologue, four agons (controversies), a humorous interlude, an ingenious anagnorismos and an epilogue which concludes with a perplexing reversal of Protagoras’ and Socrates’ positions. At the end, there are several remarks about possible interpretations of this and other dialogues of Plato.
6

The Connection between Neoplatonism and Plato's 'agrapha dogmata'

80%
Woszczyk A.
Przegląd Filozoficzny. Nowa Seria
|
2005
|
vol. 14
|
issue 2(54)
53-66
EN
The 'Enneads' contains a principle of plurality (matter-dyad) which can be viewed as a necessary condition of the constitution and gradation of beings. This principle is amenable to a new interpretation of Plotinus's philosophy in which emanation as a transition from what is the highest to what is the lowest, is no longer regarded as a gradual deterioration of the Unity to matter, or the absolute 'steresis'. On the contrary, the process that leads to the emergence of new hyposthases can be viewed as a result of a cooperation between the Unity and the matter-dyad in which every new ontic level of being can be identified as a new form of the Unity whose power is gradually dissipated and diminished until it is entirely used up, which permits the Matter-dyad to show its a preponderance.
7

FILOZOFIA AKO VÝSKUM VYUŽÍVAJÚCI UMENIE. FILOZOFIA NA SCÉNE

80%
Böhler A.
Filozofia (Philosophy)
|
2013
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vol. 68
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issue 5
426 – 440
EN
Since ancient Greek philosophers like Gorgias, Plato or Aristotle called the art of poetry a (magic) form of fiction that contradicts scientific forms of knowledge, a historical abyss has been introduced between the arts and the sciences, which still haunts us today. It was Nietzsche who first questioned the legitimacy of this distinction by calling the sciences a special form of art. My article will claim that Nietzsche was the philosopher who first assumed that science and philosophy are art-based-research practices. Philosophy is not representing a given truth but has to create it by staging it both, on a conceptual AND a fleshly level. Philosophy on Stage such becomes a post-socratic attempt to perform philosophy as the creation of a certain mode of living rather than a dialectic form of communication for the exchange of scientific arguments.
8

CRAFTING OF MORTAL SOUL IN PLATO’S TIMAEUS

80%
Calvo J. M. Z.
Filozofia (Philosophy)
|
2018
|
vol. 73
|
issue 2
119 – 132
EN
This paper focuses on the crafting of the mortal type of the human soul in the Timaeus. The demiurge entrusts to his divine assistants the forging of this mortal type – consisting of two “parts”: the irascible-aggressive (thumós) and the desiderative-appetitive (epithumía) – in order to enable the connection of the immortal soul, coming from the first mixture, with the mortal body. The immortal, i.e. divine soul, was sowed and produced by the demiurge himself to animate the world as a whole, and so were the stars. Additionally, auxiliary demiurges make the plants, which also possess a soul (the type which is present in living beings); they serve as food for men, without transgressing the process of transmigration of souls established by the gods.
9

Demiurgiczna i polityczna techne w Platońskim Protagorasie

80%
Wollner U.
Lectiones & Acroases Philosophicae
|
2011
|
vol. 4
|
issue 1
223-247
EN
The aim of the paper is to analyse the Great Speech which is part of the dialogue Protagoras, principally the problem of dēmiourgikē technē and politikē technē. The existence of some other technai is researched as well as their relationship, their significance and objective. The questions are investigated: Is the virtue part of human nature or not? Can we find such technē that is able to make people good at deliberation and at capability to master one`s own life as well as other people’s life?
10

Eurípidés a Platón: dvě podoby kritiky mýtu o autochtonii

80%
Daneš J.
Listy filologické (Folia philologica)
|
2011
|
vol. 134
|
issue 3-4
245-263
EN
The myth of autochthony was one of the key elements of ancient Athenian democratic ideology. Therefore, it is not surprising that two clever critics and observers of Athenian democratic society – Euripides and Plato – paid particular attention to this myth. According to the myth of autochthony, the citizens (or the ancestors of the citizens) were not born of human mothers and fathers but fashioned in the earth. What are the political implications of the myth of autochthony in general? First, it provides the unity of political society and strictly separates citizens from non-citizens. Second, it explains the equal rights of the citizens. Third, it pretends that the boundaries of the cities in the world are dictated by nature itself and not by human contract or agreements. Fourth, it legitimises the exclusion of women from politics – the earth is the only mother of all citizens. Fifth, the myth of autochthony definitely resolves the permanent question: to whom does or did the land belong? In his tragedy Ion, Euripides questions the myth of autochthony and its implications for the foundation of a political society without women (the character of Creusa). He also suggests that Athenian society which thinks of itself as tolerant and open, is, in fact, on the basis of this myth, intolerant and xenophobic (the character of the old Tutor). On the one hand, the myth of autochthony provides order to the city, but on the other hand it closes and limits the possibilities of the city. Plato’s attitude is a little different. In the Republic he obviously acknowledges the value of this myth for the unity and stability of the political society, but he tries to eliminate the egalitarian implications of this noble lie, as Socrates calls it (Rep. 414c). So he introduces his own autochthony myth concerning the three classes of citizens (gold, silver, and iron-copper), thus legitimating a hierarchical political society.
11

WHOLE-PART DILEMMA: A COMPOSITIONAL UNDERSTANDING OF PLATO’S THEORY OF FORMS

80%
Park S. S.
Organon F. medzinárodný časopis pre analytickú filozofiu
|
2022
|
vol. 29
|
issue 2
246 – 267
EN
In this paper, I suggest a way of resolving the whole-part dilemma suggested in the Parmenides. Specifically, I argue that grabbing the second horn of the dilemma does not pose a significant challenge. To argue for this, I consider two theses about Forms, namely, the oneness and indivisibility theses. More specifically, I argue that the second horn does not violate the oneness thesis if we treat composition as identity and that the indivisibility thesis ought to be reinterpreted given Plato’s later dialogues. By doing so, I suggest a compositional understanding of Plato’s theory of Forms, which can resolve the whole-part dilemma.
12
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Antyczne źródła pojęcia mimezis

80%
Michalski R.
Filo-Sofija
|
2005
|
vol. 5
|
issue 5
45-64
EN
In this article I show the evolution of meaning of the term ‘mimesis’ in ancient Greece. I distinguish its two basic meanings: copying (imitation) and expression. The older meaning (mimesis as expression) comes from the Pythagorean tradition, whereas the newer one (mimesis as copying) can be traced back to the philosophy of Plato. Analysis of Plato’s dialogues step by step reveals ambivalence of the notion, and, what is most important, points out how useful it can be in epistemology, philosophy of language, psychology and aesthetics.
13

Platonic Inspirations of Philo's Allegorical Method

80%
Domaradzki M.
Przegląd Filozoficzny. Nowa Seria
|
2007
|
vol. 16
|
issue 1(61)
83-93
EN
The paper deals with an original adaptation of Platonism that was conducted by Philo of Alexandria with a view to presenting a non-anthropomorphic interpretation of the Torah. The main thesis of the article is that although Philo's allegorical method heralds a gradual departure from a fundamentally orthodox reading of the Holy Books, the departure was greatly indebted to the philosophy of Plato. The common ground of Plato's and Philo's philosophy is a rational critique of anthropomorphism, inasmuch as both thinkers perceive anthropomorphism as an immoral and socially pernicious doctrine. Philo's endeavor to render reason the paramount judge of any Biblical hermeneutics is one of the very first and most important attempts to free the Western Culture from the fundamentalism of mythical consciousness.
14

Obraz snu a spánku u Hérakleita a Platóna a jeho filosofické souvislosti

80%
Mikes V.
Listy filologické (Folia philologica)
|
2007
|
vol. 130
|
issue 3-4
229-249
EN
The principal aim of this paper is to investigate the first uses of the metaphor of sleep and dream. This leads first to the general conclusion that the origins of the metaphor are to be looked for in philosophical texts, namely of Heraclitus and Plato. In the writings of the former it is related to the specific concept of the nature of man, characterized by unification and centralization - new in the period - of the cognitive functions. Heraclitus is apparently the first who uses the image of sleep to depict a state of cognitive or perceptive imperfection (basically an incapacity to see the reality), whereas Plato later establishes the similar use of the image of dream. In the course of the analysis more particular problem emerges, namely ambiguity related to the metaphor. In Heraclitus it is primarily the ambiguity due to his way of expression which invokes certain uncertainty whether the references to sleep found in the fragments are metaphorical at all. The conclusion is that this uncertainty is non-accidental and is to be connected to a more general ambiguity in Heraclitus writings concerning the question whether his perspective is normative or descriptive. Moreover, it is claimed in the paper that Heraclitus's lack of clarity corresponds to an even more general ambivalence with which Greek culture regarded sleep and dream in their literal sense and which appears much more clearly in Plato for whom (following Heraclitus) the metaphor of dream had not only a negative meaning but also a positive one (in the sense of pre-cognition). In the subsequent tradition, however, what primarily obtains is rather the negative meaning through which both authors together influenced the subsequent use of the metaphor, as seen, for example, in the case of Philo of Alexandria.
15

Postaci wiedzy w platońskim Protagorasie

80%
Meyer M. F.
Lectiones & Acroases Philosophicae
|
2011
|
vol. 4
|
issue 1
85-114
EN
In Plato's philosophy the concept of knowledge plays an outstanding role. This contribution will show that Plato focused on this topic already in his early dialogue Protagoras. In particular the discussion about the sophistic concepts of knowledge forms the thread of this dialogue. In its first part Socrates examines the common prejudices about sophistic knowledge. His phenomenology of learning (a process of 'getting wiser') points out that knowledge is always the knowledge of something. The substance of knowledge (the mathēma) can be isolated from individual persons knowing something. Socrates underlines that human psyche feeds on mathēmata. Therefore, it is of vital importance to distinguish useful knowledge from harmful knowledge. The second - more comprehensive - part of the Protagoras offers a critical synopsis of types of sophistical knowledge. In particular, the concepts of polumathiē, of rhetorical skills, of poetological language competence and of political knowledge are discussed. In the third and final part of the dialogue Plato presents his own concept of knowledge, named ''the art of measuring''. This metretikē technē is a type of practical knowledge relating decisions based on momentary phenomena to the consequences of future actions. This kind of knowledge aims at insights preventing our loss of ethical intuitions, which in principle we have at our disposal.
16

PLOTINUS' 'ENNEADS': CRITICISM OF PLATO'S CONCEPTION

80%
Fattal M.
Przegląd Filozoficzno-Literacki
|
2008
|
vol. 6
|
issue 2-3(20)
387-402
EN
AAccording to Plato, the poetry and the painting belong to 'mimetic arts'. A painter does not represent the Idea, the essence of objects. A bed that was painted is only imitation of imitation and that is why this bed pictured by a painter 'is as many as three steps away from nature'. Today, it is believed that an artist - like God - creates a new world deriving it from his own imagination. In contrary, in Plato's conception only God is a real creator. On the other hand, Plotinus claims that the arts cannot be disregarded or condemned only because they imitate nature, which itself is imperfect. He completely inverts Plato's schema. In his opinion, art is superior to nature. Plotinus, criticizing Plato's criticism of mimetic arts, admits that the artist is able to reach to divine and intelligible causes and to make visible the very patterns of things. The figurative art of Fayum Portraits no less than the Byzantine art would be mirrored in the metaphysics of Plotinus whereas the abstract art would reflect his metanoetics that sets forth the theory of One without any form and would give value to unconscious acts of artistic creation.
17
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Kobieta w pismach Platona. Między codziennością a ideą

80%
Usakiewicz J.
Archeus. Studia z bioetyki i antropologii filozoficznej
|
2013
|
vol. 14
165-180
EN
The article analyzes an image of woman in the Plato’s writings. For a systematization of the subject, the author uses three categories: woman-thing, woman-wisdom and woman-human being (citizen). This article points out the fact that Plato allowed women activity in all spheres of life. Especially, he expressed the idea of the equal education for women and men. The author also proposes a thesis that these Plato’s views are based on his metaphysics: particularly on the definition of human being as a spirit. In consequence differences between women and men are amounted only to physical differences.
18

PROTÁGORAS JAKO TEORETIK SPOLEČENSKÉ SMLOUVY

80%
Myšička S.
Filozofia (Philosophy)
|
2011
|
vol. 66
|
issue 3
258-272
EN
In his theory of society Protagoras, one of the most influential sophist thinkers, applies a contractarian approach, similar in many respects to those of Locke, Hobbes and Rousseau. Protagoras, unlike Aristotle or Plato, was convinced that individual perceptions and beliefs as well as those of the body political are relative, because there is no uniform ground on which things could be perceived or experienced. He offers an evolutionary account of the development of human species, arguing that society is a result of a contract among its members, based on commonly shared and taught social virtues. On the other hand, Protagoras is not a nihilist: In his account there is still a possibility of an expertise within the polis, related to the good of the particular community.
19

The fighting polis (the Plato's Timaeus 17 a - 27c and Laws 625c - 637b)

80%
Zygmuntowicz D.
Archiwum Historii Filozofii i Mysli Spolecznej (Archives of the History of Philosophy and of Social Thought)
|
2006
|
vol. 50-51
3-23
EN
The authoress asks two questions. The first, is war really the best action of a polis how the introductory conversation of the 'Timaeus' (19b -c) suggests. The second, has been the Sokrates' desire to see his ideal polis in action fulfilled in the 'Timaeus-Critias' sequence. The approach to the problems seems to be found in the 'Laws', where these two questions are turned to this one: might war be the pattern for a lawgiver.
20

ERASMUS' TROUBLES WITH HISTORY AND HOW HE OVERCAME THEM WITH THE HELP OF THE BIBLE

80%
Domanski J.
Odrodzenie i Reformacja w Polsce
|
2006
|
vol. 50
11-27
EN
History and philosophy differ from each other in their subject matter and in the way they communicate what each of them says about it. While history expresses itself most adequately by means of stories, narration; philosophy, by means of conceptual distinctions, definitions and syllogisms. This difference can be described by saying that philosophy deals with ontic existence while history is concerned with gignetic existence and that this difference accounts for their different language.However, in practice, nothing prevents a historian from using general concepts and their definitions just as nothing prevents a philosopher from narrating single, contingent facts. A similar difference and similarity exist in a specific way also in Hellenistic Jewish thought, and later in Christian thought. As a literary message, the Old and the New Testament are mostly a history, but their main contents are of an identical, or very similar character to the nature of philosophy. This is why they were translated into the language of Platonic and Stoic philosophy by Philo of Alexandria.The ancient and, even more clearly, the medieval exegesis of the Bible transformed the allegoric presentation into a rigorous conceptual system. This was favoured by the increasingly strong dominance of philosophy in medieval intellectual culture. The Renaissance humanists of the 14th-16th centuries raised the rank of history. Some of them extended their meta-historical reflections to the Bible. One of the most important among them was Erasmus of Rotterdam, a humanist and also a theologian.Having made the Bible the focus of his theological and humanistic works, Erasmus could not avoid the Biblical thought and conveyance structures which were typical of history. He also realised that the thought structures proper to history were not a sufficiently adequate tool for the Bible. It was in allegory that he tried to find the conceptual and philosophical 'generality' which was lacking in these structures, hoping that with its help he would be able to save the concreteness of the personal character of the Christian message and avoid scholastic conceptualisation and systematisation. The author of the article, which is a fragment of a still unfinished book 'Aristotle's Philosophy and the Scientific Status of Historiography', analyses anew Erasmus' humanistic and theological thoughts on the Bible as history.
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