Rachel Barney

The Paleolithic paintings and drawings found on cave walls at sites in France and Spain, such as Lascaux, Altamira and Vallon-Pont-D'Arc, have profound effects on those who see them. In addition to their historical interest, they are prized for their aesthetic and spiritual qualities, which have had an important influence on modern art. But the caves are small and the paintings are fragile. Access to them has been sharply limited: some caves have been closed to protect the paintings from the damage caused by human respiration; access to others is limited to those who negotiate a daunting reservation scheme. Despite being the heritage of humanity as a whole, the cave paintings are, and must be, restricted to a very few. Not everyone who wants to see the paintings can do so if they are to survive.

The Cratylus is Plato's principal discussion of language, and has generated immense interpretive controversy. This thesis offers a new interpretation of the Cratylus, starting from the idea that it is essentially a normative enquiry, to be interpreted alongside Plato's ethical and political works. Just as the Statesman attempts to determine the nature of the statesman, so too the basic project of the Cratylus is to discover what constitutes a true, correct name. But this aim is doomed in the case of language: names turn out to be a kind of imitation, and as such incapable of real correctness. ;The Cratylus discusses two theories of 'the correctness of names': conventionalism and naturalism. First, Socrates refutes the conventionalist thesis that any name anyone sets down for an object is correct. This thesis is, I suggest, of interest as a reasonable way to support the commonsensical assumption that all actual names are correct--an assumption which would preclude Plato's normative project. Socrates then elaborates naturalism, with an outsize, vaguely playful etymological discussion which has baffled interpreters. I argue that the etymological section serves above all as an agonistic display, establishing the authority of the philosopher to determine the value of etymologising and to treat the subject of names as he deems fit. ;Etymology is succeeded by the mimetic account of names as imitations. This is followed by a 'reexamination' of naturalism in which Socrates apparently turns against it, concluding with a partial rehabilitation of convention. This conclusion is the other major interpretive stumbling-block of the Cratylus. Here I argue that no rejection of naturalism is implied. Rather, its status is shown to be limited by its own consequences--a paradox, but one which does amount to or entail conventionalism. This reading is developed further by reference to the similar position expressed in the Seventh Letter. ;An End-Note discusses the explanation of false statement presented in the Sophist: I argue against the common view that it uses syntactic ideas in a way which represents a significant departure from the Cratylus.

Plato’s depiction of the first city in the Republic (Book II), the so-called ‘city of pigs’, is often read as expressing nostalgia for an earlier, simpler era in which moral norms were secure. This goes naturally with readings of other Platonic texts (including Republic I and the Gorgias) as expressing a sense of moral decline or crisis in Plato’s own time. This image of Plato as a spokesman for ‘moral nostalgia’ is here traced in various nineteenth- and twentieth-century interpretations, and rejected. Plato’s pessimism about human nature in fact precludes any easy assumption that things, or people, were better in the old days.

Iakovos Vasiliou argues for reading Plato’s early dialogues and the Republic in light of “the aiming/determining distinction.” Aiming questions are concerned with the selection of our overriding ends. Determining questions ask how we can identify actions which secure those ends. As Vasiliou argues, Socrates claims to know an answer to the central aiming question, namely that virtue must be supreme (SV). Virtue functions sometimes as an explicit end and always as a limiting condition: we must never do wrong. For wrong action damages the soul, which is the most important locus of harms and benefits for us. Vasiliou traces this argument as it is offered with increasing fullness in the Crito, Gorgias, and Republic...

Are the long, wildly inventive etymologies in Plato’s Cratylus just some kind of joke, or does Plato himself accept them? This standard question misses the most important feature of the etymologies: they are a competitive performance, an agôn by Socrates in which he shows that he can play the game of etymologists like Cratylus better than they can themselves. Such show-off performances are a recurrent feature of Platonic dialogue: they include Socrates’ speeches on eros in the Phaedrus, his rhetorical discourse in the Menexenus, and his literary interpretation in the Protagoras. The paper compares these cases to work out the ground rules, purposes and implications of the Platonic agôn, and the Cratylus etymologies in particular.

This paper explores in detail Gorgias' defense of rhetoric in Plato 's Gorgias, noting its connections to earlier and later texts such as Aristophanes' Clouds, Gorgias' Helen, Isocrates' Nicocles and Antidosis, and Aristotle's Rhetoric. The defense as Plato presents it is transparently inadequate; it reveals a deep inconsistency in Gorgias' conception of rhetoric and functions as a satirical precursor to his refutation by Socrates. Yet Gorgias' defense is appropriated, in a streamlined form, by later defenders of rhetoric such as Isocrates and Aristotle. They present it as an effective reductio against a critique of rhetoric that depends on the "harm criterion." This is puzzling, since Plato 's own critique of rhetoric does not depend on the harm criterion. On the other hand, Plato does seem to embrace the harm criterion as a more general principle—as if pre-emptively embracing the reductio —in his arguments about the good in the Meno and Euthydemus. Nonetheless, Isocrates and Aristotle seem to be deliberately misreading Plato on rhetoric: where he intends to criticize its intrinsic nature, they respond as if he were merely complaining about its contingent effects.

Simplicius’ project of harmonizing previous philosophers deserves to be taken seriously as both a philosophical and an interpretive project. Simplicius follows Aristotle himself in developing charitable interpretations of his predecessors: his distinctive project, in the Neoplatonic context, is the rehabilitation of the Presocratics (especially Parmenides, Anaxagoras and Empedocles) from a Platonic-Aristotelian perspective. Simplicius’ harmonizations involve hermeneutic techniques which are recognisably those of the serious historian of philosophy; and harmonization itself has a distinguished history as a constructive philosophical method.