Filosofihistorie, filosofiske traditioner

Nel celeberrimo processo a Socrate, il filosofo viene accusato di corruzione dei giovani e di venerazione di una divinità non tradizionale. Nel corso del processo Socrate, ormai spacciato, si difende esponendo un’apologia, riportata da Platone, che è riecheggiata nella storia dei secoli. La "Apologia" è una dei quattro testi che narrano gli ultimi giorni di vita di Socrate.Platone (circa 428-348 d.C.) è stato un filosofo di Atene nel periodo classico dell’Antica Grecia. Il suo pensiero ha avuto un’influenza eccezionale nella storia della filosofia ed egli è spesso considerato il fondatore della filosofia politica occidentale. Alfred North Whitehead ha sostenuto che "tutta la storia della filosofia occidentale non è che una serie di note a margine su Platone".

Gli aforismi su "La saggezza della vita" di Arthur Schopenhauer costituiscono un classico della letteratura di uno dei maggiori moralisti di tutti i tempi. L’opera indica una via che dovrebbe consentirci di vivere più serenamente o il meno infelicemente possibile. "Bastare a se stesso, esser per se stesso tutto in tutto, e poter dire: «Omnia mea mecum porto» (porto con me tutte le cose mie), ecco certamente la condizione più favorevole per la nostra felicità"Arthur Schopenhauer è stato un filosofo tedesco, cittadino espatriato del regno di Prussia, e uno dei maggiori pensatori del XIX secolo e dell'epoca moderna. Il suo pensiero recupera alcuni elementi dell'illuminismo, della filosofia di Platone, del romanticismo e del kantismo, fondendoli con la suggestione esercitata dalle dottrine orientali, specialmente quella buddhista e induista. Schopenhauer crea una sua originale concezione filosofica caratterizzata da un forte pessimismo, la quale ebbe una straordinaria influenza, seppur a volte completamente rielaborata, sui filosofi successivi, come ad esempio Friedrich Nietzsche, e, in generale, sulla cultura europea coeva e successiva, inserendosi nella corrente delle filosofie della vita.

These works articulate the most fundamental principles of Kant’s ethical and political world-view. "What is Enlightenment?" (1784) and "Fundamental Principles of the Metaphysics of Morals" (1785) challenge all free people to think about the requirements for self-determination both in our individual lives and in our public and private institutions. Kant’s "Fundamental Principles of the Metaphysics of Morals" is dedicated to the proposition that all people can know what they need to know to be honest, good, wise, and virtuous. The purpose of Kant’s moral philosophy is to help us become aware of the principles that are already contained within us. Innocence and dependence must be replaced with wisdom and good will if we are to avoid being vulnerable and misguided. According to Kant, freedom of thought leads naturally to freedom of action. When that happens, governments begin to treat human beings, not as machines, but as persons with dignity. Immanuel Kant begins "Toward Lasting Peace" by contrasting the realism of practical politicians with the high-minded theories of philosophers who "dream their sweet dreams." His opening line provides a grim reminder that the only alternative to finding a way to avoid the war of each against all is the lasting peace of the graveyard. The advent of total war and the development of nuclear weapons in the twentieth century give Kant’s reflections an urgency he could not have anticipated. Kant published this work in 1795, during the aftermath of the American Revolution and the French Revolution. The high hopes of the European Enlightenment had been dampened by the Reign of Terror in which tens of thousands of people died, and the perpetual cycle of war and temporary armistice seemed to be inescapable. Kant’s essay is best known as an early articulation of the idea of a league of nations that could bring "an end to all hostilities." Today The United Nations continues to pursue that dream, but lasting peace still seems to be wishful thinking.No modern philosopher is more important than Immanuel Kant. His works extend from epistemology and metaphysics to aesthetics, ethics, and political philosophy. His "Critical Philosophy" is developed in three major works: "The Critique of Pure Reason," "The Critique of Practical Reason," and "The Critique of Judgment." A German speaker, he was born in Prussia, an area that is now part of Poland. He never travelled more than 50 miles from his home in Königsberg, but his influence has since pervaded every aspect of Western culture.

Den menneskelige erkendelse opnås blandt andet via kategorisering af tanker, mente filosof Harald Høffding. Her kan du læse noget om totalitet som kategori. Teksten blev oprindeligt udgivet i et videnskabeligt tidskrift. Høffdings totalitetsbegreb fik både betydning i filosofisk og psykologisk forskning, men også indenfor jura. Det spillede blandt andet en vigtig rolle for den danske jurist Alf Ross' udvikling af retsbegreber.Harald Høffding (1843-1931) var teolog og filosof og virkede gennem 30 år som professor ved Københavns Universitet. I løbet af sin karriere opnåede han en central position i det danske videns- og kulturliv og nød stor anerkendelse både i og udenfor Danmark. Høffding var yderst virksom hele sit liv, og tankegodset i hans bøger er stadig relevant i dag. Udover værkerne om etik, filosofihistorie og psykologi kendes han for monografier om Søren Kierkegaard, Jean-Jacques Rousseau og Baruch Spinoza.

I denne religionsfilosofisk essaysamling introducerer Harald Høffding læseren for en række store tænkeres – heriblandt Platon, Kierkegaard og Spinoza – idéer om religion. Høffding beskæftigede sig også selv indgående med med religion, og han opstillede 'det etisk-religiøse problem' som et af sine filosofiske hovedproblemer. Noget af det, der ifølge Høffding kendetegner religion, er, at den er forbundet med en tro på "Værdiens Bestaaen" – en tro på at de kræfter, der styrer tilværelsen, ikke er indifferente over for det, der er værdifuldt for os.Harald Høffding (1843-1931) var teolog og filosof og virkede gennem 30 år som professor ved Københavns Universitet. I løbet af sin karriere opnåede han en central position i det danske videns- og kulturliv og nød stor anerkendelse både i og udenfor Danmark. Høffding var yderst virksom hele sit liv, og tankegodset i hans bøger er stadig relevant i dag. Udover værkerne om etik, filosofihistorie og psykologi kendes han for monografier om Søren Kierkegaard, Jean-Jacques Rousseau og Baruch Spinoza.

I dette filosofihistoriske værk behandler Harald Høffding tankegodset fra en række af 1800-tallets største tænkere, heriblandt Søren Kierkegaard og Friedrich Nietzsche.Høffdings værk handler om moderne filosofi, men rummer også filosofihistoriske tilbageblik, der uddyber og eksemplificerer hans egne og andre samtidige filosofiske tænkeres standpunkter. Ved at forene og sammenligne tendenser fra forskellige perioder og videnskabelige strømninger, bliver han i stand til at skabe helhedsanskuelser.Harald Høffding (1843-1931) var teolog og filosof og virkede gennem 30 år som professor ved Københavns Universitet. I løbet af sin karriere opnåede han en central position i det danske videns- og kulturliv og nød stor anerkendelse både i og udenfor Danmark. Høffding var yderst virksom hele sit liv, og tankegodset i hans bøger er stadig relevant i dag. Udover værkerne om etik, filosofihistorie og psykologi kendes han for monografier om Søren Kierkegaard, Jean-Jacques Rousseau og Baruch Spinoza.

"e;Ken tasta kay, saa kaiken toivon heittaa"e;Helvetin portin ylle kiinnitetty lausahdus antaa esikuvaa runoilijan matkasta Helvetin lapi tuonpuoleiseen. Runoelma seuraa Danten matkaa yha syvemmalle pitkin Helvetin yhdeksaa piiria, joissa toinen toistaan vakavampiin synteihin syyllistyneet ovat karsimassa rangaistuksiaan. Heidan mielikuvituksekkaat rangaistuksensa heijastavat tekojen luonnetta.Danten Jumalainen naytelma on yksi maailmankirjallisuuden kuuluisimpia teoksia, jonka vaikutus on kantanut vuosisatojen lapi. Runoilijakertojan matka kulkee Helvetin ja Kiirastulen kautta Paratiisiin. Todellisuus ja yliluonnollinen sekoittuvat, kun teoksessa tarkastellaan ihmisyytta ja valotetaan keskiajan maailmankuvaa.Eino Leinon kielellisesti rikas suomennos on taideteos itsessaan.-

Helvetin syvyyksista selvittyaan Dante jatkaa matkaansa Kiirastulen vuorelle, jonka huipulla odottaa Paratiisi. Kiirastulen eri kerrokset vastaavat seitsemaa kuolemansyntia ja kuvaavat ihmisten moraalista heikkoutta. Matkalla Dante pohtii syntien perusluonnetta seka niiden seuraamuksia politiikassa ja kirkossa.Danten Jumalainen naytelma on yksi maailmankirjallisuuden kuuluisimpia teoksia, jonka vaikutus on kantanut vuosisatojen lapi. Runoilijakertojan matka kulkee Helvetin ja Kiirastulen kautta Paratiisiin. Todellisuus ja yliluonnollinen sekoittuvat teoksen tarkastellessa ihmisyytta ja samalla valottaen keskiajan maailmankuvaa.Eino Leinon kielellisesti rikas suomennos on taideteos itsessaan.-

Runoelman viimeisessa osassa Dante jatkaa matkaansa lapi Paratiisin yhdeksan piirin, jotka perustuvat syntien sijasta hyveisiin. Runoilija kohtaa matkallaan kohti Jumalaa useita kuuluisia pyhimyksia, ja Paratiisi onkin runoelman osista kaikkein keskittynein teologiseen pohdiskeluun. Danten Jumalainen naytelma on yksi maailmankirjallisuuden kuuluisimpia teoksia, jonka vaikutus on kantanut vuosisatojen lapi. Runoilijakertojan matka kulkee Helvetin ja Kiirastulen kautta Paratiisiin. Todellisuus ja yliluonnollinen sekoittuvat teoksen tarkastellessa ihmisyytta ja samalla valottaen keskiajan maailmankuvaa.Eino Leinon kielellisesti rikas suomennos on taideteos itsessaan.-

"The Birth of Tragedy" stands alongside Aristotle’s "Poetics" as essential works for all who seek to understand poetry and its relationship to human life. In this, his first book, Nietzsche developed a way of thinking about the arts that unites the Greek gods Apollo and Dionysus as the central symbol of human existence. Although tragedy serves as the focus of this work, music, visual art, dance, and the other arts can also be viewed using Nietzsche’s analysis and integration of the Apollonian and the Dionysian.Nietzsche opened the door to philosophy in the 20th century. He anticipated depth psychology, championed myth, attacked literalism in religion and the arts, placed humanity in an evolutionary perspective, and launched a critique of scientism that remains potent in the 21st century. Although he is often linked to the movement known as existentialism, Nietzsche’s overall work defies being placed in any single category.

David Hume’s Dialogues Concerning Natural Religion had not yet been published when he died in 1776. Even though the manuscript was mostly written during the 1750s, it did not appear until 1779. The subject itself was too delicate and controversial, and Hume’s dialectical examination of religious knowledge was especially provocative. What should we teach young people about religion? The characters Demea, Cleanthes, and Philo passionately present and defend three sharply different answers to that question. Demea opens the dialogue with a position derived from René Descartes and Father Malebranche — God’s nature is a mystery, but God’s existence can be proved logically. Cleanthes attacks that view, both because it leads to mysticism and because it attempts the impossible task of trying to establish existence on the basis of pure reason, without appeal to sense experience. As an alternative, he offers a proof of both God’s existence and God’s nature based on the same kind of scientific reasoning established by Copernicus, Galileo, and Newton. Taking a skeptical approach, Philo presents a series of arguments that question any attempt to use reason as a basis for religious faith. He suggests that human beings might be better off without religion. The dialogue ends without agreement among the characters, justifying Hume’s choice of dialogue as the literary style for this topic. Born in Scotland, Hume challenges much of the philosophy that prevailed in Europe and England in the 17th and 18th century. He was especially critical of the rationalism developed by René Descartes and his followers. Although he wrote a number of influential essays (including "A Treatise of Human Nature" and "Inquiry Concerning Human Understanding"), his dialogues are especially well suited for the topic of religion. As his character Pamphilus says: "Any philosophical question that is so obscure and uncertain that human reason can reach no agreement about it, if it is treated at all, seems to lead us naturally to the style of dialogue."

Gorgias of Leontini, a famous teacher of rhetoric, has come to Athens to recruit students, promising to teach them how to become leaders in politics and business. A group has gathered at Callicles' house to hear Gorgias demonstrate the power of his art. This dialogue blends comic and serious discussion of the best life, providing a penetrating examination of ethics. Is it better to suffer evil or to do evil? Is it better to do something wrong and avoid being caught or to be caught and punished? Is pleasure the same as goodness? As the characters in the dialogue pursue these questions, the foundations of ethics and the nature of the good life come to light.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

The basic principles that Bergson articulates, especially his way of thinking about reality as a dynamic process and his view of human beings as creative and evolving, should be helpful to anyone who seeks to go beyond simply dealing with the practical demands of daily life and consider the nature of things. Of special importance is Bergson’s claim that it is both possible and necessary to know from the inside rather than confining our attention to external perspectives and points of view. Intuition is able to get beyond what is relative and place us inside reality. This essay is, as the title says, an introduction. But if we think there is more to a human being — and even to nature itself — than material structures alone, perhaps the time has come to take a fresh look at Bergson’s essay. In "An Introduction to Metaphysics," Bergson traces the demise of metaphysics to the failure of both scientific materialism and dogmatism and to the immense success of a kind of pragmatism that promised liberation from the fruitless battles among various schools of philosophy. He also rejects relativism and criticizes the vacuum that is created when philosophers refuse to inquire about the nature of reality. To avoid metaphysics easily leads to a worldview shaped by unexamined ideas and hidden presuppositions. Henri Bergson was born in the year that Darwin published the Origin of the Species. He could not have imagined the philosophical impact of evolutionary theory, which is now so great that Bergson’s philosophy, which emphasizes "creative evolution," is experiencing a significant revival. The basic principles that Bergson articulates, especially his way of thinking about reality as a dynamic process and his view of human beings as creative and evolving, should be helpful to anyone who seeks to go beyond simply dealing with the practical demands of daily life and consider the nature of things.

Socrates questions Ion, an actor who just won a major prize, about his ability to interpret the epic poetry of Homer. How does an actor, a poet, or any other artist create? Is it by knowing? Is it by inspiration? As the dialogue proceeds, the nature of human creativity emerges as a mysterious process and an unsolved puzzle. Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

After Socrates is sentenced to death by the Athenian court, his friend Crito comes to the prison to help him escape and go to another country. Socrates responds by saying that he would accept Crito’s offer only if he can be convinced that it is right and just to do so. This dialogue is not only about Socrates’ particular choice but also about the very essence of law and community.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

John Stuart Mill’s "On Liberty" was first published in 1859. In the 21st century this text confirms Socrates’ claim that "it is only the life of true philosophy that scorns the life of political ambition" (Plato’s Republic, 521). Mill’s thinking about freedom in civic and social life examines fundamental principles shared among conservative, liberal, and radical politicians. The life of true philosophy stands outside the political battles that are rampant in society and seeks the political wisdom that is necessary for a good life in any age. "On Liberty" should be read alongside the classic documents that declare the basic nature and importance of human freedom and liberty such as the "U.S. Declaration of Independence" (1776), the French "Rights of Man" (1789), "The Declaration of Sentiments at the Seneca Falls Convention" (1848), and the "United Nations Universal Declaration of Human Rights" (1948). When the officials of any government seek to change the laws that regulate individual liberty or when rhetoricians seek to change public opinion about what individuals should or should not be allowed to say or do, Mill’s "On Liberty" serves as an antidote to the poisons of excessive intrusion into the lives of individuals.Mill was born in London, the son of James Mill, a Scotsman who came to England and joined with Jeremy Bentham to develop utilitarianism. Today John Stuart Mill is also known as one of the major proponents of utilitarianism, but the depth of his philosophical thinking goes far beyond the disputes among ethical theorists. In spite of his criticism of some aspects of Immanuel Kant’s philosophy, his ethical position eventually embraces Kant’s most basic concepts: autonomy and universality. Mill contributed to logic, philosophy of science, epistemology, economics, psychology, politics, and ethics. He was also an early proponent of the rights of women.

Perception, memory, truth, and knowledge all play major roles in this dialogue. What is remarkable about Plato’s treatment of those ideas is how contemporary are both the questions and the answers he puts in the mouths of his characters. Socrates is adamant in asserting that he does not know the answers but that his function is simply to help formulate and critically examine the doctrines presented by others. While he was still alive, the great sophist Protagoras was a friend of Theodorus who has subsequently given up abstract philosophical inquiry and now teaches mathematics, astronomy, and logic to young people such as Theaetetus, the most gifted student he has ever encountered. Socrates examines young Theaetetus to determine whether or not what he has learned from Theodorus provides wisdom and truth. The analogies and metaphors that emerge during their conversation foreshadow the theories of mind favored by contemporary cognitive scientists, but Plato’s dialogue also raises serious doubts about the cogency of those explanations. Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

In Euthyphro, Socrates is on his way to the court where he must defend himself against serious charges brought by religious and political authorities. On the way, he meets Euthyphro, an expert on religious matters, who has come to prosecute his own father. Socrates questions Euthyphro’s claim that religion serves as the basis for ethics. Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Socrates is on trial for his life. He is charged with impiety and corrupting young people. He presents his own defense, explaining why he has devoted his life to challenging the most powerful and important people in the Greek world. The reason is that rich and famous politicians, priests, poets, and a host of others pretend to know what is good, true, holy, and beautiful, but when Socrates questions them they are shown to be foolish rather than wise.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Whitehead presented these three lectures at Princeton University in 1929. Although 85 years have passed, his central thesis and his analysis remain remarkably current. The scientific materialism that Whitehead opposed with such vigor continues to dominate in academic circles, and even now those who question that worldview are often accused of being anti-scientific. This is especially true in discussions of the nature of the human mind and its relation to the body (particularly the brain). It is hard to find a contemporary thinker with a better perspective on the nature and role of natural science than Whitehead who, with Bertrand Russell, published the "Principia Mathematica" in 1910; who taught logic and mathematics at Trinity College of Cambridge University; who taught philosophy of science at University College London; and who was professor of philosophy at Harvard University beginning in 1924. Whitehead’s cosmology is far from anti-scientific, but he does explain why scientific method and technological practice alone are not able to provide a comprehensive understanding of the full range of human thought and experience. This work explains what we must do to achieve such a comprehensive understanding.Whitehead, with Bertrand Russell, published the "Principia Mathematica" in 1910; he taught logic and mathematics at Trinity College of Cambridge University; he taught philosophy of science at University College London — with special emphasis on the conceptual impact of contemporary physics; and he was professor of philosophy at Harvard University, beginning in 1924, where he taught metaphysics. Whitehead’s cosmology is far from anti-scientific, but he does explain why scientific method and technological practice alone are not able to provide a comprehensive understanding of the full range of human thought and experience.

Art is the creative manifestation of essences. In order to understand the relation between art and reality, we need a philosophical guide. The best way to comprehend how the creative act of imagining enables the mind to seek reality is to employ the kind of dialectical thinking that Plato used in his dialogues. Beginning with the shadows on the wall of the cave in which each person dwells, that process gradually enables us to grasp the essences that are manifested in individual works of art. Without a philosophical guide, we are likely to encounter only a blur of images in the visual arts, a cacophony of sounds in music, a whirl of activity in the theater, and chaos in the building of cities. It is too much to expect a set of final answers to any serious question about what is true, good, or beautiful. If we abandon the quest for reality, we settle for too little. Plato’s dialectical approach offers a path between Scylla and Charybdis.Albert A. Anderson, Ph.D., is Professor of Philosophy Emeritus at Babson College in Massachusetts, where he held an endowed chair as Murata Professor of Ethics from 1995 to 2003. He has also held tenured faculty appointments in philosophy at Clark University and Albion College and full-time positions at Bates College and Rhode Island School of Design. He was a founding member of the International Society for Universal Dialogue serving as its president from 1996-2001. He joined Edward Casey in translating from French "The Phenomenology of Aesthetic Experience" by Mikel Dufrenne (Northwestern University Press). He is president of Agora Publications, Inc., which specializes in translating, adapting, and performing classical philosophical texts.

Hippias of Elis travels throughout the Greek world practicing and teaching the art of making beautiful speeches. On a rare visit to Athens, he meets Socrates who questions him about the nature of his art. Socrates is especially curious about how Hippias would define beauty. They agree that "beauty makes all beautiful things beautiful," but when Socrates presses him to say precisely what he means, Hippias is unable to deliver such a definition. The more Socrates probes, the more absurd the responses from Hippias become. This is one of Plato’s best comedies and one of his finest efforts at posing the philosophical problem of the difference between particular things and universal qualities.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

The dramatic nature of Plato’s dialogues is delightfully evident in the "Symposium." The marriage between character and thought bursts forth as the guests gather at Agathon’s house to celebrate the success of his first tragedy. With wit and insight, they each present their ideas about love — from Erixymachus’s scientific naturalism to Aristophanes’ comic fantasy. The unexpected arrival of Alcibiades breaks the spell cast by Diotima’s ethereal climb up the staircase of love to beauty itself. Ecstasy and intoxication clash as Plato concludes with one of his most skillful displays of dialectic.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

The "Dao De Jing" exists on the border between poetry and philosophy, embracing both mythos and logos. Its poetic form can stand alone, but it is enriched when its timeless ideas are analyzed and explained through careful scholarship. For example: "He who knows others is knowledgeable. He who knows himself is wise." These words resemble Socrates’ account of his own quest in Plato’s "Apology". Ancient philosophy, both in China and in Greece, places self-knowledge at the center of the search for wisdom. Contemporary philosophers are often misled about this way of thinking, because the self has been detached from external things and separated from nature and society. The wisdom of China and of Europe unites human existence and nature.Lao Zi was a scholar responsible for the imperial archives in China. He was a contemporary of Confucius, but most of what is told about his life is considered to be legend rather than documented history. One story says that Lao Zi grew weary of the foolish ways of his fellow human beings and headed to the desert to die. On the way, the gatekeeper recognized him and persuaded him to transcribe his wisdom before leaving. Whatever its source, the "Dao De Jing" continues to shape the consciousness of human beings throughout the globe, turning the mind from the external world to the depths of the soul.

The "Republic" poses questions that endure: What is justice? What form of community fosters the best possible life for human beings? What is the nature and destiny of the soul? What form of education provides the best leaders for a good republic? What are the various forms of poetry and the other arts, which ones should be fostered, and which ones should be discouraged? How does knowing differ from believing? Several characters in the dialogue present a variety of tempting answers to those questions. Cephalus, Polemarchus, Thrasymachus, and Glaucon all offer definitions of justice. Socrates, Glaucon, and Adeimantus explore five different forms of republic and evaluate the merit of each from the standpoint of goodness. Two contrasting models of education are proposed and examined. Three different forms of poetry are identified and analyzed. The difference between knowing and believing is discussed in relation to the objects of each kind of thinking.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Socrates is in prison, sentenced to die when the sun sets. In this final conversation, he asks what will become of him once he drinks the poison prescribed for his execution. Socrates and his friends examine several arguments designed to prove that the soul is immortal. This quest leads him to the broader topic of the nature of mind and its connection not only to human existence but also to the cosmos itself. What could be a better way to pass the time between now and the sunset?Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

A dialogue between Socrates and Meno probes the subject of ethics. Can goodness be taught? If it can, then we should be able to find teachers capable of instructing others about what is good and bad, right and wrong, or just and unjust. Socrates and Meno are unable to identify teachers of ethics, and we are left wondering how such knowledge could be acquired. To answer that puzzle, Socrates questions one of Meno’s servants in an attempt to show that we know fundamental ideas by recollecting them.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Plato’s dialogues frequently cover several topics and show their connection to each other. The "Phaedrus" is a model of that skill because of its seamless progression from examples of speeches about the nature of love to mythical visions of human nature and destiny to the essence of beauty and, finally, to a penetrating discussion of speaking and writing. It ends with an examination of the love of wisdom as a dialectical activity in the human mind.Plato lived in Athens, Greece. He wrote approximately two-dozen dialogues that explore core topics that are essential to all human beings. Although the historical Socrates was a strong influence on Plato, the character by that name that appears in many of his dialogues is a product of Plato’s fertile imagination. All of Plato’s dialogues are written in a poetic form that his student Aristotle called "Socratic dialogue." In the twentieth century, the British philosopher and logician Alfred North Whitehead characterized the entire European philosophical tradition as "a series of footnotes to Plato." Philosophy for Plato was not a set of doctrines but a goal — not the possession of wisdom but the love of wisdom. Agora Publications offers these performances based on the assumption that Plato wrote these works to be performed by actors in order to stimulate additional dialogue among those who listen to them.

Aristotle's Poetics is best known for its definition and analysis of tragedy and comedy, but it also applies to truth and beauty as they are manifested in the other arts. In our age, when the natural and social sciences have dominated the quest for truth, it is helpful to consider why Aristotle claimed: "poetry is more philosophical and more significant than history." Like so many other works by Aristotle, the Poetics has dominated the way we have thought about all forms of dramatic performance in Europe and America ever since. The essence of poetry lies in its ability to transcend the particulars of everyday experience and articulate universals, not merely what has happened but what might happen and what ought to happen. Perhaps the greatest tribute to Aristotle comes from St. Thomas Aquinas who, in the 13th century, simply referred to him as "the Philosopher" and called him the master of those who know. Born in northeastern Greece, Aristotle went to Athens as a young man to study in Plato’s Academy where he remained for more than 20 years. When Plato died, he left the Academy, and four years later he returned to Macedonia to tutor the king’s son who quickly became Alexander the Great, the ruler of most of the civilized world. Like Plato, Aristotle’s writings extend far beyond what we currently call philosophy, including the natural sciences, the social sciences, and the humanities.

"Plato was not a Platonist! I would like to show . . . that anyone who reads the dialogues of Plato without bias or an ax to grind will find a humorous, witty, pleasant friend; and not a desiccated scholarly mandarin. Plato was an open-minded, tolerant, reasonable individual, not a tight-lipped, pietistic, puritan. In a word, Plato was an Athenian, not a Spartan!" In the twenty-four centuries that have passed since the Athenians put Socrates to death, every generation has interpreted the meaning of Plato’s work differently. Joseph Uemura guides us through six dialogues in an effort to promote a dialectical quest rather than seek a final resting place. Plato’s dialogues treat the big questions that confront any thoughtful person. "Eythyphro" explores religion, "Phaedo" reflects on mind, "Theatetus" examines knowledge, "Sophist" probes being, "Phaedrus" reflects on art, and the "Republic" ponders society. All great literature must be experienced first-hand. Because it is not self-explanatory, it must be interpreted and evaluated. Professor Uemura’s reflections serve as a touchstone by which to test every new reading of Plato’s work.Professor Emeritus at Hamline University, Joseph Uemura has taught philosophy at small liberal arts colleges since he completed his Ph.D. in philosophy at Columbia University. During his career he has held two endowed professorships and transformed the lives of an uncounted number of students. His primary medium is the mind of his students, where he has recorded indelible ideas against which, as Nietzsche said, "time tests its teeth in vain." Although the crisp and witty prose of many of his essays and talks captures the essence of Plato’s core philosophy, it is the minds of his students where his lasting contribution persists not for the moment but for all time.