Muthos

The first volume in a new series generated by a multiyear project at the U. of Chicago Divinity School. Twelve essays (all but two are edited versions of papers presented at one of six semi-annual conferences) address the nature of religion, the nature of philosophy, and their relationships. Several argue that the philosophy of religions should be global in its orientation, comparative in its approach, and grounded in the empirical study of religious traditions. Others deal with historical data, shifting from the discussion of theoretical and methodological issues. Paper edition (unseen), $19.95. Annotation copyrighted by Book News, Inc., Portland, OR

We think of myth as a fictional story, and Plato was the first to use the term muthos in that sense. But Plato also used muthos to describe the practice of making and telling stories, the oral transmission of all that a community keeps in its collective memory. In the first part of Plato the Myth Maker, Luc Brisson reconstructs Plato's multifaceted and not uncritical description of muthos in light of the latter's famous Atlantis story. The second part of the book contrasts this sense of myth, as Plato does, with another form of speech that he believed was far superior: the logos of philosophy. Appearing for the first time in English, Plato the Myth Maker is a solid and important contribution to the history of myth, based on the privileged testimony of one of its most influential critics and supporters.

In this, the fullest, sustained interpretation of Aristotle's Poetics available in English, Stephen Halliwell demonstrates that the Poetics, despite its laconic brevity, is a coherent statement of a challenging theory of poetic art, and it hints towards a theory of mimetic art in general. Assessing this theory against the background of earlier Greek views on poetry and art, particularly Plato's, Halliwell goes further than any previous author in setting Aristotle's ideas in the wider context of his philosophical system. The core of the book is a fresh appraisal of Aristotle's view of tragic drama, in which Halliwell contends that at the heart of the Poetics lies a philosophical urge to instill a secularized understanding of Greek tragedy. "Essential reading not only for all serious students of the Poetics . . . but also for those—the great majority—who have prudently fought shy of it altogether."—B. R. Rees, Classical Review "A splendid work of scholarship and analysis . . . a brilliant interpretation."—Alexander Nehamas, Times Literary Supplement

In the first two volumes of this work, Paul Ricoeur examined the relations between time and narrative in historical writing, fiction and theories of literature. This final volume, a comprehensive reexamination and synthesis of the ideas developed in volumes 1 and 2, stands as Ricoeur's most complete and satisfying presentation of his own philosophy.

This book explores the possibility that Plato's philosophia is influenced by non-agonal practices and values that historically and philosophically antedate the agonal practices of the Athenian ekklesia. The author surveys literature concerning the predominance of agonal in ancient Greek culture, the values associated with oral poetic performance as a religious practice, and the ubiquitous character of the gift practice known as xenia in the ancient world. The author compares the structure of the agon to the structure of other ancient practices, and reasons that while agonistic practices are oppositional and binary, poetic and social practices are narrative and plural and exemplify, alternative to the agonal, the value of charis--grace. Reading Socratic speech and Socratic inquiry in terms of charis illuminates the narrative structure of Plato's portrayal of Socrates and precludes one-dimensional analyses of Plato's writings as philosophically agonistic and demonstrative. Rather the value of Socratic charis illustrates the value of genuine dialogue, and the author suggests how revaluing Socratic dialogue in light of charis can be relevant to current thinking about philosophy, politics, and the agon.

All Greek in the text is translated; the versions offered seek to convey the distinctive character of the original."--BOOK JACKET.

In ancient Greece, the spoken word connoted power, whether in the free speech accorded to citizens or in the voice of the poet, whose song was thought to know no earthly bounds. But how did silence fit into the mental framework of a society that valued speech so highly? Here Silvia Montiglio provides the first comprehensive investigation into silence as a distinctive and meaningful phenomenon in archaic and classical Greece. Arguing that the notion of silence is not a universal given but is rather situated in a complex network of associations and values, Montiglio seeks to establish general principles for understanding silence through analyses of cultural practices, including religion, literature, and law. Unlike the silence of a Christian before an ineffable God, which signifies the uselessness of words, silence in Greek religion paradoxically expresses the power of logos--for example, during prayer and sacrifice, it serves as a shield against words that could offend the gods. Montiglio goes on to explore silence in the world of the epic hero, where words are equated with action and their absence signals paralysis or tension in power relationships. Her other examples include oratory, a practice in which citizens must balance their words with silence in very complex ways in order to show that they do not abuse their right to speak. Inquiries into lyric poetry, drama, medical writings, and historiography round out this unprecedented study, revealing silence as a force in its own right.

Explores the influence of the sea myth at the structural and conceptual foundations of the Hebrew Bible.