Allegory of cave
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Plato's Allegory of the Cave describes prisoners chained in an underground cave seeing only shadows projected on the cave wall from objects passing in front of a fire behind them. The prisoners mistake these shadows for reality and believe the echoing voices belong to the shadows. If one prisoner was freed and saw the true objects and fire, he would think the shadows were unreal compared to the clearer world outside the cave.
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![Plato, The Allegory of the Cave
The son of a wealthy and noble family, Plato (427-347 B.C.) was preparing for a career in politics when the trial
and eventual execution of Socrates (399 B.C.) changed the course of his life. He abandoned his political career
and turned to philosophy, opening a school on the outskirts of Athens dedicated to the Socratic search for
wisdom. Plato's school, then known as the Academy, was the first university in western history and operated
from 387 B.C. until A.D. 529, when it was closed by Justinian.
Plato was both a writer and a teacher. His writings are in the form of dialogues, with Socrates as the speaker.
The following selection is taken from the Benjamin Jowett translation (Vintage, 1991), pp. 253-261. As you read
the Allegory, draw a picture of it and refer to it as you read the selection.
* * * * * *
[Socrates] Let me show in a figure how far our nature is enlightened or unenlightened: --Behold! human beings
living in a underground cave, which has a mouth open towards the light; here they have been from their
childhood, and have their legs and necks chained so that they cannot move, and can only see straight ahead, being
prevented by the chains from turning round their heads. Above and behind them a fire is blazing at a distance,
and between the fire and the prisoners there is a raised way; and you will see, if you look, a low wall built along
the way, like the screen which marionette players have in front of them, over which they show the puppets.
[Glaucon] I see.
[Socrates] And do you see, I said, men passing along the wall carrying all sorts of vessels, and statues and
figures of animals made of wood and stone and various materials, which appear over the wall? Some of them are
talking, others silent.
[Glaucon] You have shown me a strange image, and they are strange prisoners.
[Socrates] Like us they see only their own shadows, or the shadows of one another, which the fire throws on the
opposite wall of the cave?
[Glaucon] True, he said; how could they see anything but the shadows if they were never allowed to move their
heads?
[Socrates] And of the objects which are being carried in the same way they would only see the shadows?
[Glaucon] Yes.
[Socrates] And if they were able to converse with one another, would they not suppose that they were naming
what was actually before them?
[Glaucon] Very true.
[Socrates] And suppose further that the prison had an echo which came from the other side, would they not be
sure to fancy when one of the passers-by spoke that the voice which they heard came from the passing shadow?
[Glaucon] No question, he replied.
[Socrates] To them, I said, the truth would be literally nothing but the shadows of the images.
[Glaucon] That is certain.](https://image.slidesharecdn.com/allegoryofcave-110204004811-phpapp02/85/Allegory-of-cave-1-320.jpg)
Recommended
An Analysis and Interpretation of Plato's Allegory of the Cave
An Analysis and Interpretation of Plato's Allegory of the Cave
Directions Write a fully developed paragraph of at least 250 wor
Directions: Write a fully developed paragraph of at least 250 words for each of the following questions. Support all claims and responses with specific details from the stories. Cite page numbers.
Be sure to read the "Checklist for Writing about Symbols" on page 267 in Backpack Literature for ways to avoid far-fetched interpretations. Remember, not everything is a symbol.
1. Plato's Allegory of the Cave
Actions
A. Define allegory, using the definition provided in Backpack Literature or the Key Concepts page of this lesson.
B. Identify at least six (6) symbols from the story and explain what each of these symbols suggest in this allegory. That is, what are they "standing in" for?
C. How does understanding these allegorical associations (symbolic meanings) help us to understand Plato's message? What is his message (or what is the allegory's main point)?
2. The Cathedral by Raymond Carver. Identify all of the symbols you see operating in the story.
A. Identify the symbols, which may either be physical objects or descriptions (of setting, character, etc.), or they may be names (of people or places), or any other concrete thing that seems to suggest more than its literal meaning.
B. Explain both the literal meaning (or use) of the object and the symbolic meaning(s) of the object or description.
C. Explore possible connections between the symbols in the story and its theme.
D. Support all claims with specific textual detail. Note that the story must support the symbolic meaning you interpret for an object or description. Simply because an object is often referenced symbolically--a rose, for example--does not mean that it is always used symbolically. The author must give us reason for reading the object as a symbol. (See page 267 in Backpack Literature for more on this.) Sometimes a rose is just a rose. Or, as Freud would say, sometimes a cigar is just a cigar.
3. Any two (2) stories story from Chapter 7. That is, for each story you will write a fully developed, 250-word paragraph that does the following: The lottery by Shirley Jackson and The one who walk away from Omelas by Ursula K. Le Guin
A. Identify the symbols, which may either be physical objects or descriptions (of setting, character, etc.), or they may be names (of people or places), or any other concrete thing that seems to suggest more than its literal meaning.
B. Explain both the literal meaning (or use) of the object and the symbolic meaning(s) of the object or description.
C. Explore possible connections between the symbols in the story and its theme.
D. Support all claims with specific textual detail. Note that the story must support the symbolic meaning you interpret for an object or description. Simply because an object is often referenced symbolically--a rose, for example--does not mean that it is always used symbolically. The author must give us reason for reading the object as a symbol. (See page 267 in Backpack Literature for more on this.) Sometimes a ro ...
353Socrates, PlatoThus the soul, since it is immorta.docx
35
3
Socrates, Plato
Thus the soul, since it is immortal and has been born many times, and has
seen all things both here and in the other world, has learned everything
that is. —Plato, Meno
Love [is] between the mortal and the immortal. . . . [It is] a grand spirit which
brings together the sensible world and the eternal world and merges them
into one great whole. —Diotima in Plato’s Symposium, 202e
I [Socrates] affirm that the good is the beautiful. —Plato’s Lysis, 216d
f you have heard of only one philosopher, it is probably one of the big three:
Socrates, Plato, or Aristotle.These three were the most important philosophers
of ancient Greece and in some respects the most important, period. Plato was the
pupil of Socrates, and Aristotle was the pupil of Plato.This chapter covers Socrates
and Plato; the following chapter, Aristotle.
SOCRATES
In the fifth century B.C.E., the center of Western civilization was Athens, a city-state
and a democracy. This period of time was some three centuries after the first
Olympic Games and the start of alphabetic writing, and approximately one cen-
tury before Alexander the Great demonstrated that it is possible to conquer the
world or what passed for it then. Fifty thousand citizens of Athens governed the
city and the city’s empire. Athenians did not settle disputes by brawling but rather
I
36 Part One • Metaphysics and Epistemology: Existence and Knowledge
by discussion and debate. Power was not achieved through wealth or physical
strength or skill with weapons; it was achieved through words. Rhetoricians, men
and women with sublime skill in debate, created plausible arguments for almost
any assertion and, for a fee, taught others to do it too.
These rhetoricians, the Western world’s first professors, were the Sophists.
They were interested in practical things, and few had patience with metaphysical
speculation. They demonstrated their rhetorical abilities by “proving” the seem-
ingly unprovable—that is, by attacking commonly held views.The net effect was
an examination and a critique of accepted standards of behavior within Athenian
society. In this way, moral philosophy began. We will return to this topic in
Chapter 10.
At the same time in the fifth century B.C.E., there also lived a stonemason with
a muscular build and a keen mind, Socrates [SOK-ruh-teez] (470–399 B.C.E.).
He wrote nothing, but we know quite a bit about him from Plato’s famous dia-
logues, in which Socrates almost always stars. (Plato’s later dialogues reflect
Plato’s own views, even though “Socrates” is doing the speaking in them. But we
are able to extract a reasonably detailed picture of Socrates from the earlier
dialogues.)
Given the spirit of the times, it is not surprising that Socrates shared some of
the philosophical interests and practices of the Sophists. We must imagine him
wandering about the city, engaging citizens in discussion and argument. He was a
brilliant debater, and he was idolized by many youn.
Recommended
An Analysis and Interpretation of Plato's Allegory of the Cave
An Analysis and Interpretation of Plato's Allegory of the Cave
Directions Write a fully developed paragraph of at least 250 wor
Directions: Write a fully developed paragraph of at least 250 words for each of the following questions. Support all claims and responses with specific details from the stories. Cite page numbers.
Be sure to read the "Checklist for Writing about Symbols" on page 267 in Backpack Literature for ways to avoid far-fetched interpretations. Remember, not everything is a symbol.
1. Plato's Allegory of the Cave
Actions
A. Define allegory, using the definition provided in Backpack Literature or the Key Concepts page of this lesson.
B. Identify at least six (6) symbols from the story and explain what each of these symbols suggest in this allegory. That is, what are they "standing in" for?
C. How does understanding these allegorical associations (symbolic meanings) help us to understand Plato's message? What is his message (or what is the allegory's main point)?
2. The Cathedral by Raymond Carver. Identify all of the symbols you see operating in the story.
A. Identify the symbols, which may either be physical objects or descriptions (of setting, character, etc.), or they may be names (of people or places), or any other concrete thing that seems to suggest more than its literal meaning.
B. Explain both the literal meaning (or use) of the object and the symbolic meaning(s) of the object or description.
C. Explore possible connections between the symbols in the story and its theme.
D. Support all claims with specific textual detail. Note that the story must support the symbolic meaning you interpret for an object or description. Simply because an object is often referenced symbolically--a rose, for example--does not mean that it is always used symbolically. The author must give us reason for reading the object as a symbol. (See page 267 in Backpack Literature for more on this.) Sometimes a rose is just a rose. Or, as Freud would say, sometimes a cigar is just a cigar.
3. Any two (2) stories story from Chapter 7. That is, for each story you will write a fully developed, 250-word paragraph that does the following: The lottery by Shirley Jackson and The one who walk away from Omelas by Ursula K. Le Guin
A. Identify the symbols, which may either be physical objects or descriptions (of setting, character, etc.), or they may be names (of people or places), or any other concrete thing that seems to suggest more than its literal meaning.
B. Explain both the literal meaning (or use) of the object and the symbolic meaning(s) of the object or description.
C. Explore possible connections between the symbols in the story and its theme.
D. Support all claims with specific textual detail. Note that the story must support the symbolic meaning you interpret for an object or description. Simply because an object is often referenced symbolically--a rose, for example--does not mean that it is always used symbolically. The author must give us reason for reading the object as a symbol. (See page 267 in Backpack Literature for more on this.) Sometimes a ro ...
353Socrates, PlatoThus the soul, since it is immorta.docx
35
3
Socrates, Plato
Thus the soul, since it is immortal and has been born many times, and has
seen all things both here and in the other world, has learned everything
that is. —Plato, Meno
Love [is] between the mortal and the immortal. . . . [It is] a grand spirit which
brings together the sensible world and the eternal world and merges them
into one great whole. —Diotima in Plato’s Symposium, 202e
I [Socrates] affirm that the good is the beautiful. —Plato’s Lysis, 216d
f you have heard of only one philosopher, it is probably one of the big three:
Socrates, Plato, or Aristotle.These three were the most important philosophers
of ancient Greece and in some respects the most important, period. Plato was the
pupil of Socrates, and Aristotle was the pupil of Plato.This chapter covers Socrates
and Plato; the following chapter, Aristotle.
SOCRATES
In the fifth century B.C.E., the center of Western civilization was Athens, a city-state
and a democracy. This period of time was some three centuries after the first
Olympic Games and the start of alphabetic writing, and approximately one cen-
tury before Alexander the Great demonstrated that it is possible to conquer the
world or what passed for it then. Fifty thousand citizens of Athens governed the
city and the city’s empire. Athenians did not settle disputes by brawling but rather
I
36 Part One • Metaphysics and Epistemology: Existence and Knowledge
by discussion and debate. Power was not achieved through wealth or physical
strength or skill with weapons; it was achieved through words. Rhetoricians, men
and women with sublime skill in debate, created plausible arguments for almost
any assertion and, for a fee, taught others to do it too.
These rhetoricians, the Western world’s first professors, were the Sophists.
They were interested in practical things, and few had patience with metaphysical
speculation. They demonstrated their rhetorical abilities by “proving” the seem-
ingly unprovable—that is, by attacking commonly held views.The net effect was
an examination and a critique of accepted standards of behavior within Athenian
society. In this way, moral philosophy began. We will return to this topic in
Chapter 10.
At the same time in the fifth century B.C.E., there also lived a stonemason with
a muscular build and a keen mind, Socrates [SOK-ruh-teez] (470–399 B.C.E.).
He wrote nothing, but we know quite a bit about him from Plato’s famous dia-
logues, in which Socrates almost always stars. (Plato’s later dialogues reflect
Plato’s own views, even though “Socrates” is doing the speaking in them. But we
are able to extract a reasonably detailed picture of Socrates from the earlier
dialogues.)
Given the spirit of the times, it is not surprising that Socrates shared some of
the philosophical interests and practices of the Sophists. We must imagine him
wandering about the city, engaging citizens in discussion and argument. He was a
brilliant debater, and he was idolized by many youn.
The Allegory of the CaveAt the beginning of Book VII of Plato’s .docx
The Allegory of the Cave
At the beginning of Book VII of Plato’s Republic, Socrates famously invokes an image of human nature with respect to education and the lack of it, likening our situation to that of prisoners in a cave. Imagine an underground cave-like dwelling, its entrance entirely out of sight. Inhabiting this cave are human beings whose feet and necks are chained so that they can neither get up nor turn their heads; they can only see straight ahead. Above and behind them burns a fire, and between them and the fire there is a raised path and a low wall, like the screen above which performers display their puppets. Behind this wall men pass to and fro carrying statues and figures of human beings, animals, and other objects in such a manner that the artifacts appear over the top of the screen, projecting onto the wall opposite the fire. The prisoners, unable to see neither the objects carried behind them nor one another, behold only the shadows of themselves and of the statues cast onto the wall in front of them.
The prisoners represent the vast majority of the human race: “they’re like us.” They live in a world in which images are mistaken for realities. What is a shadow, after all, but a mere image of something real (in this case a statue, which is itself an image of something even more real, namely a living human being or animal)? Moreover, the prisoners have not the faintest clue that throughout their entire lives they have been exposed to nothing but distortions of the truth—they are, in other words, unaware of their ignorance (just like Euthyphro, the fanatical young priest about whom you will read in the next chapter). The shadows represent the authoritative opinions that govern the hearts and minds of whole communities, and give a transcendent purpose and meaning to our particular existence.[1] These shadows are to be contrasted with the light of truth illuminating the world beyond the cave (but which also makes the shadows visible within it). The people carrying the statues are the lawgivers and poets who establish the cultural values and cosmic worldview that characterize and define a given society. In his excellent commentary on Plato’s Republic, Professor Allan Bloom explains: “We do not see men as they are but as they are represented to us by legislators and poets. A Greek sees things differently from the way a Persian sees them. One need only think of…the significance of cows to Hindus as opposed to other men to realize how powerful are the various horizons constituted by law or convention.”[2] These authoritative opinions are not accurate reflections of nature, but rather a curious amalgam of natureandconvention. To quote once again from Professor Bloom: “The first and most difficult of tasks is the separation of what exists by nature from what is merely made by man.”[3]
This, precisely, is the business of philosophy, which literally means “the love of wisdom,” coming from the ancient Greek words philein, meaning “to .
3 53Socrates, PlatoThus the soul, since it is immort.docx
3 5
3
Socrates, Plato
Thus the soul, since it is immortal and has been born many times, and has
seen all things both here and in the other world, has learned everything
that is. — Plato, Meno
Love [is] between the mortal and the immortal. . . . [It is] a grand spirit which
brings together the sensible world and the eternal world and merges them
into one great whole. — Diotima in Plato’s Symposium, 202e
I [Socrates] affirm that the good is the beautiful. — Plato’s Lysis, 216d
f you have heard of only one philosopher, it is probably one of the big three:
Socrates, Plato, or Aristotle. These three were the most important philosophers
of ancient Greece and in some respects the most important, period. Plato was the
pupil of Socrates, and Aristotle was the pupil of Plato.This chapter covers Socrates
and Plato; the following chapter, Aristotle.
SOCR ATES
In the fifth century B.C.E., the center of Western civilization was Athens, a city-state
and a democracy. This period of time was some three centuries after the first
Olympic Games and the start of alphabetic writing, and approximately one cen-
tury before Alexander the Great demonstrated that it is possible to conquer the
world or what passed for it then. Fifty thousand citizens of Athens governed the
city and the city’s empire. Athenians did not settle disputes by brawling but rather
I
3 6 Part One • Metaphysics and Epistemology: Existence and Knowledge
by discussion and debate. Power was not achieved through wealth or physical
strength or skill with weapons; it was achieved through words. Rhetoricians, men
and women with sublime skill in debate, created plausible arguments for almost
any assertion and, for a fee, taught others to do it too.
These rhetoricians, the Western world’s first professors, were the Sophists.
They were interested in practical things, and few had patience with metaphysical
speculation. They demonstrated their rhetorical abilities by “proving” the seem-
ingly unprovable — that is, by attacking commonly held views. The net effect was
an examination and a critique of accepted standards of behavior within Athenian
society. In this way, moral philosophy began. We will return to this topic in
Chapter 10.
At the same time in the fifth century B.C.E., there also lived a stonemason with
a muscular build and a keen mind, Socrates [SOK-ruh-teez] (470–399 B.C.E.).
He wrote nothing, but we know quite a bit about him from Plato’s famous dia-
logues, in which Socrates almost always stars. (Plato’s later dialogues reflect
Plato’s own views, even though “Socrates” is doing the speaking in them. But we
are able to extract a reasonably detailed picture of Socrates from the earlier
dialogues.)
Given the spirit of the times, it is not surprising that Socrates shared some of
the philosophical interests and practices of the Sophists. We must imagine him
wandering about the city, engaging citizens in discussion and argument. He was a
brilliant debater, and he was idolized by.
1.2 PLATO’S ALLEGORY OF THE CAVEWe can follow some of Socrates’
1.2 PLATO’S ALLEGORY OF THE CAVE
We can follow some of Socrates’ themes by exploring the ideas of Plato (c. 428–348 B.C.), Socrates’ most famous disciple. (Further biographical information on Plato can be found in section 3.2.) If we are to search for wisdom and to know how to live our lives, Plato believed, we must have a correct understanding of knowledge and reality. Plato’s view of reality, as well as his view of knowledge and personal enlightenment, is represented in his famous Allegory of the Cave, which has become a classic story in Western literature. In this allegory, Plato suggests the possibility that reality may be entirely different than our taken-for-granted assumptions suppose it to be. In telling this story, Plato uses the figure of his teacher Socrates to present his ideas. As you read the allegory, answer the following questions.
Can you imagine the scene in the cave Socrates describes? Sketch a picture of all the elements in the cave.
Glaucon says the people in the story are “strange prisoners.” Socrates then gives the stunning reply that they are “like ourselves.” Why do you suppose Socrates compares us to these prisoners?
30
This diagram of Plato’s Allegory of the Cave represents chained prisoners whose only reality is the shadow world projected on the wall in front of them. They are unaware that behind them is the higher degree of reality of the fire and the statues that are casting the shadows. Still further up is the steep and rugged passage out of the cave to the upper world. A prisoner who follows this path will encounter the world of real objects and the sun. Plato used this story as a rough analogy to the modes of awareness and levels of reality discussed in his philosophy.
What do the shadows stand for?
What are the “shadows” in our society? In your life?
According to this story, what is enlightenment?
In what sense does the freed prisoner not understand the shadows as well as his friends do when he returns to the cave? In what sense does he understand the shadows better than his friends do?
In what ways are the events in the enlightened prisoner’s life like the events in the historical Socrates’ life?
Summarize what philosophical points you think Plato is making in this allegory.
31
FROM PLATO
Republic10
SOCRATES: And now, let me show in a parable how far our nature is enlightened or unenlightened. Imagine human beings living in an underground den, which has a mouth open towards the light. Here they have been from their childhood, and have their legs and necks chained so that they can not move, and can only see before them, being prevented by the chains from turning their heads around. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised walk; and you will see, if you look, a low wall built along the walkway, like the screen which marionette players have in front of them, over which they show the puppets.
GLAUCON: I see.
SOCRATES: And do yo ...
On the Poetics of the Science Fiction GenreAuthor(s) D.docx
On the Poetics of the Science Fiction Genre
Author(s): Darko Suvin
Source: College English, Vol. 34, No. 3 (Dec., 1972), pp. 372-382
Published by: National Council of Teachers of English
Stable URL: http://www.jstor.org/stable/375141
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DARKO SUVIN
On the Poetics of the Science Fiction Genre'
Science Fiction As Fiction
(Estrangement)
THE IMPORTANCE OF science fiction (SF)
in our time is on the increase. First, there
are strong indications that its popularity
in the leading industrial nations (USA,
USSR, UK, Japan) has risen sharply over
the last 100 years, regardless of local and
short-range fluctuations. SF has particu-
larly affected some key strata of modern
society such as the college graduates,
young writers, and general readers ap-
preciative of new sets of values. This is
a significant cultural effect which goes
beyond any merely quantitative census.
Second, if one takes as differentiae of SF
either radically different figures (drama-
tis personae) or a radically different con-
text of the story, it will be found to have
an interesting and close kinship with
other literary sub-genres, which flour-
ished at different times and places of lit-
erary history: the Greek and Hellenistic
"blessed island' stories, the "fabulous voy-
age" from Antiquity on, the Renaissance
and Baroque "utopia" and "planetary
novel," the Enlightenment "state (politi-
cal) novel," the modern "anticipation,"
"anti-utopia," etc. Moreover, although
SF shares with myth, fantasy, fairy tale
and pastoral an opposition to naturalistic
or empiricist literary genres, it differs
very significantly in approach and social
function from such adjoining non-natu-
ralistic or meta-empirical genres. Both of
these complementary aspects, the socio-
logical and the methodological, are being
vigorously debated among writers and
critics in several countries; both testify
to the relevance of this genre and the
need of scholarly discussion too.
In the following paper I shall argue for
a definition of SF as the literature of cog-
nitive estrangement. This definition seems
Darko Suvin, who received his Ph.D. from the
University of Zagreb and teaches in the Depart-
ment of English at McG ...
1.2 plato’s allegory of the cave we can follow some of socrates’
1.2 plato’s allegory of the cave we can follow some of socrates’
Describe the movement of the person in Plato’s allegory of the cave..docx
Describe the movement of the person in Plato’s allegory of the cave. Be very specific about the various stages in this movement, and then please explain how this allegory relates to our own lives. What is Plato’s idea about the best type of life?
Your response should be at least 500 words in length. You are required to use at least your textbook as source material for your response. All sources used, including the textbook, must be referenced; paraphrased and quoted material must have accompanying citations.
Plato (427-347
b.c.
) lived and taught philosophy in ancient Athens. In the following viewpoint, Plato asks his audience to imagine prisoners living in a cave. The people face a wall where shadows of various objects dance back and forth. The prisoners cannot turn their heads to discover the true nature of the shadows. Further, the prisoners cannot leave the cave to discover what the
reality
creating the shadows is like. Plato uses this story to illustrate his belief that we are trapped by our imperfect, subjective impressions of the world. Plato believes that people too quickly accept the first appearance of things. What people experience as reality is really a distorted reflection, or shadow, of the true reality. Plato believed that humans (in the present
life
) will never completely understand the world. Thus, Plato challenges his listeners to carefully use reason as a tool to examine all their beliefs.
As you read, consider the following questions:
According to Plato, humans sometimes find it hard to face reality. Why is this?
What is the nature of personal growth and education? Is Plato correct in suggesting that teachers often need to push students in order for them to face the truth?
What does Plato tell us about first impressions and prejudice?
"Next, then," I said, "take the following parable of education and
ignorance
as a picture of the condition of our nature. Imagine mankind as dwelling in an underground cave with a long entrance open to the light across the whole width of the cave; in this they have been from childhood, with necks and legs fettered, so they have to stay where they are. They cannot move their heads round because of the fetters, and they can only look forward, but light comes to them from fire burning behind them higher up at a distance. Between the fire and the prisoners is a road above their level, and along it imagine a low wall has been built, as puppet showmen have screens in front of their people over which they work their puppets." "I see," he said.
The Bearers and Things Carried
"See, then, bearers carrying along this wall all sorts of articles which they hold projecting above the wall, statues of men and other living things,
1
made of stone or wood and all kinds of stuff, some of the bearers speaking and some silent, as you might expect."
"What a remarkable, image," he said, "and what remarkable prisoners!"
"Just like ourselves," I said. "For, first of all, tell me this: What do you think .
Ancient Greek Philosophy Author Pearson - The world's learning company - Cana...
Ancient Greek Philosophy Author Pearson
os filósfos da Antiguidade Grega
Chapter 1The Allegory of the CaveAt the beginning of Book VII .docx
Chapter 1
The Allegory of the Cave
At the beginning of Book VII of Plato’s Republic, Socrates famously invokes an image of human nature with respect to education and the lack of it, likening our situation to that of prisoners in a cave. Imagine an underground cave-like dwelling, its entrance entirely out of sight. Inhabiting this cave are human beings whose feet and necks are chained so that they can neither get up nor turn their heads; they can only see straight ahead. Above and behind them burns a fire, and between them and the fire there is a raised path and a low wall, like the screen above which performers display their puppets. Behind this wall men pass to and fro carrying statues and figures of human beings, animals, and other objects in such a manner that the artifacts appear over the top of the screen, projecting onto the wall opposite the fire. The prisoners, unable to see neither the objects carried behind them nor one another, behold only the shadows of themselves and of the statues cast onto the wall in front of them.
The prisoners represent the vast majority of the human race: “they’re like us.” They live in a world in which images are mistaken for realities. What is a shadow, after all, but a mere image of something real (in this case a statue, which is itself an image of something even more real, namely a living human being or animal)? Moreover, the prisoners have not the faintest clue that throughout their entire lives they have been exposed to nothing but distortions of the truth—they are, in other words, unaware of their ignorance (just like Euthyphro, the fanatical young priest about whom you will read in the next chapter). The shadows represent the authoritative opinions that govern the hearts and minds of whole communities, and give a transcendent purpose and meaning to our particular existence.[1] These shadows are to be contrasted with the light of truth illuminating the world beyond the cave (but which also makes the shadows visible within it). The people carrying the statues are the lawgivers and poets who establish the cultural values and cosmic worldview that characterize and define a given society. In his excellent commentary on Plato’s Republic, Professor Allan Bloom explains: “We do not see men as they are but as they are represented to us by legislators and poets. A Greek sees things differently from the way a Persian sees them. One need only think of…the significance of cows to Hindus as opposed to other men to realize how powerful are the various horizons constituted by law or convention.”[2] These authoritative opinions are not accurate reflections of nature, but rather a curious amalgam of natureandconvention. To quote once again from Professor Bloom: “The first and most difficult of tasks is the separation of what exists by nature from what is merely made by man.”[3]
This, precisely, is the business of philosophy, which literally means “the love of wisdom,” coming from the ancient Greek words philein, me.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docx
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
Accessed: 14/01/2009 15:16
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=mitpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October.
http://www.jstor.org
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Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
Just in Passing V2.0
some stuff folks should look at re science, soul, reality and destinations. V2.0 has more detail than V1.0
THE PORTRAIT OF SOCRATESIN PLATO’S SYMPOSIUMWILLIAM J. P.docx
THE PORTRAIT OF SOCRATES
IN PLATO’S SYMPOSIUM
WILLIAM J. PRIOR
1. Introduction
PLATO’s dialogues o·er us numerous portraits of Socrates. Some
of theseare dramaticdepictions that showusSocrates in conversa-
tionwithvarious interlocutors.OthersaredescriptionsofSocrates,
sometimes presented by others, sometimes by Socrates himself.
One of these descriptive portraits occurs in Plato’s Symposium.
The portrait is complex, being made up of several contributions
from several di·erent characters. The relation between these vari-
ous portraits is complicated. I believe that, taken together, they
constitute a coherent description, when certain perspectival dif-
ferences and other internal features of the individual portraits are
takenintoaccount.Thus,Ishall speak inthispaperof ‘theportrait’
of Socrates in the Symposium, rather than of multiple portraits. I
cannot prove, beyond what I say here, that the various portraits
amount to a coherentwhole. Norcan I establish that the portrait is
coherent in every detail. Still, I believe it is consistent in its main
elements.
I am interested in this portrait for two reasons. First, I find it
interesting in itsownright.It is acentralelement inoneof themost
important Platonic dialogues, and on those grounds alone worthy
of serious study. Second, I think it has a serious claim to be an
ã WilliamJ. Prior 2006
This is a revised version of a paper presented at a conference on the Symposium
held in Cambridge in April 2004. The conference was the outcome of a year-long
facultyseminarontheSymposium, alsoheldinCambridge.Boththeseminarandthe
conference were organized by Richard Hunter and Robert Wardy. I am grateful to
theparticipants inthe seminarfor theirstimulatingpresentations onthe dialogue, to
Robert Wardyfor the invitation toparticipate intheconference, andto themembers
of the seminar and the participants in the conference for their comments on my
paper, which has subsequently benefited from David Sedley’s critical comments.
138 William J. Prior
accurate representation of the historical Socrates. I do not believe
that this claim can be ultimately established beyond doubt; Plato
gives us several rival portraits of Socrates in the dialogues, not all
of which are consistent with each other, and we do not have the
basis for choice among them.1 Still, the portrait of Socrates in the
Symposium makes as strong a claim as any Platonic portrait to be
historical.
I want to make it clear at the outset that I accept the fact that
the portrait of Socrates in the Symposium is a Platonic portrait, a
Platonic perspective on Socrates. I do not think that this fact dis-
advantages it in relation to other portraits of Socrates found in the
Platonic dialogues. I do notaccept the view of somescholars that a
group of ‘Socratic’ or ‘early’ Platonic dialogues contains a portrait
of Socrates that has uniquely stronghistorical credentials, and that
in dialogues of a later period, including the Symposium, Socrates
becomesa‘mouthpiece ...
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Impressive Jackson Pollock Essay Thatsnotus. Jackson pollock. Jackson Pollock PPT. Jackson Pollock. Dadaists and Jackson Pollock Essay.doc. The Aims and Goals of Jackson Pollock Essay Example Topics and Well .... Brief comparison of andy warhol and jackson pollock essay sample - 727 .... Home Grown Hearts Academy Homeschool Blog: Jackson Pollock Artist Study. Jackson Pollock e laction painting - Metropolitan Magazine. Obra De Jackson Pollock - LEARNBRAZ. 78 Ideas De Artista Jackson Pollock Jackson Pollock Expresionismo .... Jackson Pollock Taschen Portfolio -Essay and Exhibition Research- - A U .... Art amp; Language: Picassos Guernica in the Style of Jackson Pollock .... Jackson Pollock : American Painter by Art Kids TPT. Jackson Pollock for kids. PPT - Jackson Pollock PowerPoint Presentation, free download - ID:3728963. Blog - Jackson Pollock No.5 The King of American Abstract Expressionism. PPT - Jackson Pollock PowerPoint Presentation, free download - ID:5426782. Jackson Pollock Information Teaching Resources. - Reversion - Style of JACKSON POLLOCK. Abstract Artfinder. PPT - Jackson Pollock PowerPoint Presentation, free download - ID:2580708. Art Lesson: Why is Jackson Pollock Considered a Great Artist? Jackson .... Amazon.de: The Museum Outlet - Jackson Pollock - kostenlose Form .... a cinema of sunshine: poem for jackson pollock. Custom Essay amazonia.fiocruz.br. Theres a Dragon in my Art Room: Jackson Pollock success!. Lot 17B Jackson Pollock Composition with Red Strokes Lot Essay An .... Jackson Pollock - Art Photo - PHOTOS amp; IMAGES RIOSTRO. Jackson Pollock Annotation Teaching Resources Jackson Pollock Essay Jackson Pollock Essay. Jackson Pollock. Jackson Pollock e laction painting - Metropolitan Magazine
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At the beginning of Book VII of Plato’s Republic, Socrates famously invokes an image of human nature with respect to education and the lack of it, likening our situation to that of prisoners in a cave. Imagine an underground cave-like dwelling, its entrance entirely out of sight. Inhabiting this cave are human beings whose feet and necks are chained so that they can neither get up nor turn their heads; they can only see straight ahead. Above and behind them burns a fire, and between them and the fire there is a raised path and a low wall, like the screen above which performers display their puppets. Behind this wall men pass to and fro carrying statues and figures of human beings, animals, and other objects in such a manner that the artifacts appear over the top of the screen, projecting onto the wall opposite the fire. The prisoners, unable to see neither the objects carried behind them nor one another, behold only the shadows of themselves and of the statues cast onto the wall in front of them.
The prisoners represent the vast majority of the human race: “they’re like us.” They live in a world in which images are mistaken for realities. What is a shadow, after all, but a mere image of something real (in this case a statue, which is itself an image of something even more real, namely a living human being or animal)? Moreover, the prisoners have not the faintest clue that throughout their entire lives they have been exposed to nothing but distortions of the truth—they are, in other words, unaware of their ignorance (just like Euthyphro, the fanatical young priest about whom you will read in the next chapter). The shadows represent the authoritative opinions that govern the hearts and minds of whole communities, and give a transcendent purpose and meaning to our particular existence.[1] These shadows are to be contrasted with the light of truth illuminating the world beyond the cave (but which also makes the shadows visible within it). The people carrying the statues are the lawgivers and poets who establish the cultural values and cosmic worldview that characterize and define a given society. In his excellent commentary on Plato’s Republic, Professor Allan Bloom explains: “We do not see men as they are but as they are represented to us by legislators and poets. A Greek sees things differently from the way a Persian sees them. One need only think of…the significance of cows to Hindus as opposed to other men to realize how powerful are the various horizons constituted by law or convention.”[2] These authoritative opinions are not accurate reflections of nature, but rather a curious amalgam of natureandconvention. To quote once again from Professor Bloom: “The first and most difficult of tasks is the separation of what exists by nature from what is merely made by man.”[3]
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3 53Socrates, PlatoThus the soul, since it is immort.docx
3 5
3
Socrates, Plato
Thus the soul, since it is immortal and has been born many times, and has
seen all things both here and in the other world, has learned everything
that is. — Plato, Meno
Love [is] between the mortal and the immortal. . . . [It is] a grand spirit which
brings together the sensible world and the eternal world and merges them
into one great whole. — Diotima in Plato’s Symposium, 202e
I [Socrates] affirm that the good is the beautiful. — Plato’s Lysis, 216d
f you have heard of only one philosopher, it is probably one of the big three:
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pupil of Socrates, and Aristotle was the pupil of Plato.This chapter covers Socrates
and Plato; the following chapter, Aristotle.
SOCR ATES
In the fifth century B.C.E., the center of Western civilization was Athens, a city-state
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city and the city’s empire. Athenians did not settle disputes by brawling but rather
I
3 6 Part One • Metaphysics and Epistemology: Existence and Knowledge
by discussion and debate. Power was not achieved through wealth or physical
strength or skill with weapons; it was achieved through words. Rhetoricians, men
and women with sublime skill in debate, created plausible arguments for almost
any assertion and, for a fee, taught others to do it too.
These rhetoricians, the Western world’s first professors, were the Sophists.
They were interested in practical things, and few had patience with metaphysical
speculation. They demonstrated their rhetorical abilities by “proving” the seem-
ingly unprovable — that is, by attacking commonly held views. The net effect was
an examination and a critique of accepted standards of behavior within Athenian
society. In this way, moral philosophy began. We will return to this topic in
Chapter 10.
At the same time in the fifth century B.C.E., there also lived a stonemason with
a muscular build and a keen mind, Socrates [SOK-ruh-teez] (470–399 B.C.E.).
He wrote nothing, but we know quite a bit about him from Plato’s famous dia-
logues, in which Socrates almost always stars. (Plato’s later dialogues reflect
Plato’s own views, even though “Socrates” is doing the speaking in them. But we
are able to extract a reasonably detailed picture of Socrates from the earlier
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Given the spirit of the times, it is not surprising that Socrates shared some of
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1.2 PLATO’S ALLEGORY OF THE CAVEWe can follow some of Socrates’
1.2 PLATO’S ALLEGORY OF THE CAVE
We can follow some of Socrates’ themes by exploring the ideas of Plato (c. 428–348 B.C.), Socrates’ most famous disciple. (Further biographical information on Plato can be found in section 3.2.) If we are to search for wisdom and to know how to live our lives, Plato believed, we must have a correct understanding of knowledge and reality. Plato’s view of reality, as well as his view of knowledge and personal enlightenment, is represented in his famous Allegory of the Cave, which has become a classic story in Western literature. In this allegory, Plato suggests the possibility that reality may be entirely different than our taken-for-granted assumptions suppose it to be. In telling this story, Plato uses the figure of his teacher Socrates to present his ideas. As you read the allegory, answer the following questions.
Can you imagine the scene in the cave Socrates describes? Sketch a picture of all the elements in the cave.
Glaucon says the people in the story are “strange prisoners.” Socrates then gives the stunning reply that they are “like ourselves.” Why do you suppose Socrates compares us to these prisoners?
30
This diagram of Plato’s Allegory of the Cave represents chained prisoners whose only reality is the shadow world projected on the wall in front of them. They are unaware that behind them is the higher degree of reality of the fire and the statues that are casting the shadows. Still further up is the steep and rugged passage out of the cave to the upper world. A prisoner who follows this path will encounter the world of real objects and the sun. Plato used this story as a rough analogy to the modes of awareness and levels of reality discussed in his philosophy.
What do the shadows stand for?
What are the “shadows” in our society? In your life?
According to this story, what is enlightenment?
In what sense does the freed prisoner not understand the shadows as well as his friends do when he returns to the cave? In what sense does he understand the shadows better than his friends do?
In what ways are the events in the enlightened prisoner’s life like the events in the historical Socrates’ life?
Summarize what philosophical points you think Plato is making in this allegory.
31
FROM PLATO
Republic10
SOCRATES: And now, let me show in a parable how far our nature is enlightened or unenlightened. Imagine human beings living in an underground den, which has a mouth open towards the light. Here they have been from their childhood, and have their legs and necks chained so that they can not move, and can only see before them, being prevented by the chains from turning their heads around. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised walk; and you will see, if you look, a low wall built along the walkway, like the screen which marionette players have in front of them, over which they show the puppets.
GLAUCON: I see.
SOCRATES: And do yo ...
On the Poetics of the Science Fiction GenreAuthor(s) D.docx
On the Poetics of the Science Fiction Genre
Author(s): Darko Suvin
Source: College English, Vol. 34, No. 3 (Dec., 1972), pp. 372-382
Published by: National Council of Teachers of English
Stable URL: http://www.jstor.org/stable/375141
Accessed: 09-05-2018 21:37 UTC
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DARKO SUVIN
On the Poetics of the Science Fiction Genre'
Science Fiction As Fiction
(Estrangement)
THE IMPORTANCE OF science fiction (SF)
in our time is on the increase. First, there
are strong indications that its popularity
in the leading industrial nations (USA,
USSR, UK, Japan) has risen sharply over
the last 100 years, regardless of local and
short-range fluctuations. SF has particu-
larly affected some key strata of modern
society such as the college graduates,
young writers, and general readers ap-
preciative of new sets of values. This is
a significant cultural effect which goes
beyond any merely quantitative census.
Second, if one takes as differentiae of SF
either radically different figures (drama-
tis personae) or a radically different con-
text of the story, it will be found to have
an interesting and close kinship with
other literary sub-genres, which flour-
ished at different times and places of lit-
erary history: the Greek and Hellenistic
"blessed island' stories, the "fabulous voy-
age" from Antiquity on, the Renaissance
and Baroque "utopia" and "planetary
novel," the Enlightenment "state (politi-
cal) novel," the modern "anticipation,"
"anti-utopia," etc. Moreover, although
SF shares with myth, fantasy, fairy tale
and pastoral an opposition to naturalistic
or empiricist literary genres, it differs
very significantly in approach and social
function from such adjoining non-natu-
ralistic or meta-empirical genres. Both of
these complementary aspects, the socio-
logical and the methodological, are being
vigorously debated among writers and
critics in several countries; both testify
to the relevance of this genre and the
need of scholarly discussion too.
In the following paper I shall argue for
a definition of SF as the literature of cog-
nitive estrangement. This definition seems
Darko Suvin, who received his Ph.D. from the
University of Zagreb and teaches in the Depart-
ment of English at McG ...
1.2 plato’s allegory of the cave we can follow some of socrates’
1.2 plato’s allegory of the cave we can follow some of socrates’
Describe the movement of the person in Plato’s allegory of the cave..docx
Describe the movement of the person in Plato’s allegory of the cave. Be very specific about the various stages in this movement, and then please explain how this allegory relates to our own lives. What is Plato’s idea about the best type of life?
Your response should be at least 500 words in length. You are required to use at least your textbook as source material for your response. All sources used, including the textbook, must be referenced; paraphrased and quoted material must have accompanying citations.
Plato (427-347
b.c.
) lived and taught philosophy in ancient Athens. In the following viewpoint, Plato asks his audience to imagine prisoners living in a cave. The people face a wall where shadows of various objects dance back and forth. The prisoners cannot turn their heads to discover the true nature of the shadows. Further, the prisoners cannot leave the cave to discover what the
reality
creating the shadows is like. Plato uses this story to illustrate his belief that we are trapped by our imperfect, subjective impressions of the world. Plato believes that people too quickly accept the first appearance of things. What people experience as reality is really a distorted reflection, or shadow, of the true reality. Plato believed that humans (in the present
life
) will never completely understand the world. Thus, Plato challenges his listeners to carefully use reason as a tool to examine all their beliefs.
As you read, consider the following questions:
According to Plato, humans sometimes find it hard to face reality. Why is this?
What is the nature of personal growth and education? Is Plato correct in suggesting that teachers often need to push students in order for them to face the truth?
What does Plato tell us about first impressions and prejudice?
"Next, then," I said, "take the following parable of education and
ignorance
as a picture of the condition of our nature. Imagine mankind as dwelling in an underground cave with a long entrance open to the light across the whole width of the cave; in this they have been from childhood, with necks and legs fettered, so they have to stay where they are. They cannot move their heads round because of the fetters, and they can only look forward, but light comes to them from fire burning behind them higher up at a distance. Between the fire and the prisoners is a road above their level, and along it imagine a low wall has been built, as puppet showmen have screens in front of their people over which they work their puppets." "I see," he said.
The Bearers and Things Carried
"See, then, bearers carrying along this wall all sorts of articles which they hold projecting above the wall, statues of men and other living things,
1
made of stone or wood and all kinds of stuff, some of the bearers speaking and some silent, as you might expect."
"What a remarkable, image," he said, "and what remarkable prisoners!"
"Just like ourselves," I said. "For, first of all, tell me this: What do you think .
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Ancient Greek Philosophy Author Pearson
os filósfos da Antiguidade Grega
Chapter 1The Allegory of the CaveAt the beginning of Book VII .docx
Chapter 1
The Allegory of the Cave
At the beginning of Book VII of Plato’s Republic, Socrates famously invokes an image of human nature with respect to education and the lack of it, likening our situation to that of prisoners in a cave. Imagine an underground cave-like dwelling, its entrance entirely out of sight. Inhabiting this cave are human beings whose feet and necks are chained so that they can neither get up nor turn their heads; they can only see straight ahead. Above and behind them burns a fire, and between them and the fire there is a raised path and a low wall, like the screen above which performers display their puppets. Behind this wall men pass to and fro carrying statues and figures of human beings, animals, and other objects in such a manner that the artifacts appear over the top of the screen, projecting onto the wall opposite the fire. The prisoners, unable to see neither the objects carried behind them nor one another, behold only the shadows of themselves and of the statues cast onto the wall in front of them.
The prisoners represent the vast majority of the human race: “they’re like us.” They live in a world in which images are mistaken for realities. What is a shadow, after all, but a mere image of something real (in this case a statue, which is itself an image of something even more real, namely a living human being or animal)? Moreover, the prisoners have not the faintest clue that throughout their entire lives they have been exposed to nothing but distortions of the truth—they are, in other words, unaware of their ignorance (just like Euthyphro, the fanatical young priest about whom you will read in the next chapter). The shadows represent the authoritative opinions that govern the hearts and minds of whole communities, and give a transcendent purpose and meaning to our particular existence.[1] These shadows are to be contrasted with the light of truth illuminating the world beyond the cave (but which also makes the shadows visible within it). The people carrying the statues are the lawgivers and poets who establish the cultural values and cosmic worldview that characterize and define a given society. In his excellent commentary on Plato’s Republic, Professor Allan Bloom explains: “We do not see men as they are but as they are represented to us by legislators and poets. A Greek sees things differently from the way a Persian sees them. One need only think of…the significance of cows to Hindus as opposed to other men to realize how powerful are the various horizons constituted by law or convention.”[2] These authoritative opinions are not accurate reflections of nature, but rather a curious amalgam of natureandconvention. To quote once again from Professor Bloom: “The first and most difficult of tasks is the separation of what exists by nature from what is merely made by man.”[3]
This, precisely, is the business of philosophy, which literally means “the love of wisdom,” coming from the ancient Greek words philein, me.
Sculpture in the Expanded FieldAuthor(s) Rosalind KraussS.docx
Sculpture in the Expanded Field
Author(s): Rosalind Krauss
Source: October, Vol. 8 (Spring, 1979), pp. 30-44
Published by: The MIT Press
Stable URL: http://www.jstor.org/stable/778224
Accessed: 14/01/2009 15:16
Your use of the JSTOR archive indicates your acceptance of JSTOR's Terms and Conditions of Use, available at
http://www.jstor.org/page/info/about/policies/terms.jsp. JSTOR's Terms and Conditions of Use provides, in part, that unless
you have obtained prior permission, you may not download an entire issue of a journal or multiple copies of articles, and you
may use content in the JSTOR archive only for your personal, non-commercial use.
Please contact the publisher regarding any further use of this work. Publisher contact information may be obtained at
http://www.jstor.org/action/showPublisher?publisherCode=mitpress.
Each copy of any part of a JSTOR transmission must contain the same copyright notice that appears on the screen or printed
page of such transmission.
JSTOR is a not-for-profit organization founded in 1995 to build trusted digital archives for scholarship. We work with the
scholarly community to preserve their work and the materials they rely upon, and to build a common research platform that
promotes the discovery and use of these resources. For more information about JSTOR, please contact [email protected]
The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to October.
http://www.jstor.org
http://www.jstor.org/stable/778224?origin=JSTOR-pdf
http://www.jstor.org/page/info/about/policies/terms.jsp
http://www.jstor.org/action/showPublisher?publisherCode=mitpress
Mary Miss. Perimeters/Pavillions/Decoys. 1978.
(Nassau County, Long Island, New York.)
Sculpture in the Expanded Field
ROSALIND KRAUSS
Toward the center of the field there is a slight mound, a swelling in the earth,
which is the only warning given for the presence of the work. Closer to it, the large
square face of the pit can be seen, as can the ends of the ladder that is needed to
descend into the excavation. The work itself is thus entirely below grade: half
atrium, half tunnel, the boundary between outside and in, a delicate structure of
wooden posts and beams. The work, Perimeters/Pavilions/Decoys, 1978, by Mary
Miss, is of course a sculpture or, more precisely, an earthwork.
Over the last ten years rather surprising things have come to be called
sculpture: narrow corridors with TV monitors at the ends; large photographs
documenting country hikes; mirrors placed at strange angles in ordinary rooms;
temporary lines cut into the floor of the desert. Nothing, it would seem, could
possibly give to such a motley of effort the right to lay claim to whatever one
might mean by the category of sculpture. Unless, that is, the category can be made
to become almost infinitely malleable.
The critical operations that have accompanied postwar American art have
largely worked in the service of this manipulation. In .
Just in Passing V2.0
some stuff folks should look at re science, soul, reality and destinations. V2.0 has more detail than V1.0
THE PORTRAIT OF SOCRATESIN PLATO’S SYMPOSIUMWILLIAM J. P.docx
THE PORTRAIT OF SOCRATES
IN PLATO’S SYMPOSIUM
WILLIAM J. PRIOR
1. Introduction
PLATO’s dialogues o·er us numerous portraits of Socrates. Some
of theseare dramaticdepictions that showusSocrates in conversa-
tionwithvarious interlocutors.OthersaredescriptionsofSocrates,
sometimes presented by others, sometimes by Socrates himself.
One of these descriptive portraits occurs in Plato’s Symposium.
The portrait is complex, being made up of several contributions
from several di·erent characters. The relation between these vari-
ous portraits is complicated. I believe that, taken together, they
constitute a coherent description, when certain perspectival dif-
ferences and other internal features of the individual portraits are
takenintoaccount.Thus,Ishall speak inthispaperof ‘theportrait’
of Socrates in the Symposium, rather than of multiple portraits. I
cannot prove, beyond what I say here, that the various portraits
amount to a coherentwhole. Norcan I establish that the portrait is
coherent in every detail. Still, I believe it is consistent in its main
elements.
I am interested in this portrait for two reasons. First, I find it
interesting in itsownright.It is acentralelement inoneof themost
important Platonic dialogues, and on those grounds alone worthy
of serious study. Second, I think it has a serious claim to be an
ã WilliamJ. Prior 2006
This is a revised version of a paper presented at a conference on the Symposium
held in Cambridge in April 2004. The conference was the outcome of a year-long
facultyseminarontheSymposium, alsoheldinCambridge.Boththeseminarandthe
conference were organized by Richard Hunter and Robert Wardy. I am grateful to
theparticipants inthe seminarfor theirstimulatingpresentations onthe dialogue, to
Robert Wardyfor the invitation toparticipate intheconference, andto themembers
of the seminar and the participants in the conference for their comments on my
paper, which has subsequently benefited from David Sedley’s critical comments.
138 William J. Prior
accurate representation of the historical Socrates. I do not believe
that this claim can be ultimately established beyond doubt; Plato
gives us several rival portraits of Socrates in the dialogues, not all
of which are consistent with each other, and we do not have the
basis for choice among them.1 Still, the portrait of Socrates in the
Symposium makes as strong a claim as any Platonic portrait to be
historical.
I want to make it clear at the outset that I accept the fact that
the portrait of Socrates in the Symposium is a Platonic portrait, a
Platonic perspective on Socrates. I do not think that this fact dis-
advantages it in relation to other portraits of Socrates found in the
Platonic dialogues. I do notaccept the view of somescholars that a
group of ‘Socratic’ or ‘early’ Platonic dialogues contains a portrait
of Socrates that has uniquely stronghistorical credentials, and that
in dialogues of a later period, including the Symposium, Socrates
becomesa‘mouthpiece ...
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Allegory of cave
- 1. Plato, The Allegory of the Cave The son of a wealthy and noble family, Plato (427-347 B.C.) was preparing for a career in politics when the trial and eventual execution of Socrates (399 B.C.) changed the course of his life. He abandoned his political career and turned to philosophy, opening a school on the outskirts of Athens dedicated to the Socratic search for wisdom. Plato's school, then known as the Academy, was the first university in western history and operated from 387 B.C. until A.D. 529, when it was closed by Justinian. Plato was both a writer and a teacher. His writings are in the form of dialogues, with Socrates as the speaker. The following selection is taken from the Benjamin Jowett translation (Vintage, 1991), pp. 253-261. As you read the Allegory, draw a picture of it and refer to it as you read the selection. * * * * * * [Socrates] Let me show in a figure how far our nature is enlightened or unenlightened: --Behold! human beings living in a underground cave, which has a mouth open towards the light; here they have been from their childhood, and have their legs and necks chained so that they cannot move, and can only see straight ahead, being prevented by the chains from turning round their heads. Above and behind them a fire is blazing at a distance, and between the fire and the prisoners there is a raised way; and you will see, if you look, a low wall built along the way, like the screen which marionette players have in front of them, over which they show the puppets. [Glaucon] I see. [Socrates] And do you see, I said, men passing along the wall carrying all sorts of vessels, and statues and figures of animals made of wood and stone and various materials, which appear over the wall? Some of them are talking, others silent. [Glaucon] You have shown me a strange image, and they are strange prisoners. [Socrates] Like us they see only their own shadows, or the shadows of one another, which the fire throws on the opposite wall of the cave? [Glaucon] True, he said; how could they see anything but the shadows if they were never allowed to move their heads? [Socrates] And of the objects which are being carried in the same way they would only see the shadows? [Glaucon] Yes. [Socrates] And if they were able to converse with one another, would they not suppose that they were naming what was actually before them? [Glaucon] Very true. [Socrates] And suppose further that the prison had an echo which came from the other side, would they not be sure to fancy when one of the passers-by spoke that the voice which they heard came from the passing shadow? [Glaucon] No question, he replied. [Socrates] To them, I said, the truth would be literally nothing but the shadows of the images. [Glaucon] That is certain.