But Critchley and Webster also advance a different kind of argument against Plato. Plato famously advances the argument in favor of philosophy as theory -- that is, theory as presumably distinct from and superior to action-oriented and emotion-laden theatrics. Critchley and Webster cleverly note that "the ancient Greek word for "theory' (theoria) is linked to theories, the spectator in a theater, and can be connected to the verb that denotes the act of seeing or contemplation (theorein)" (page 16).
The implication of their etymological lesson here is that tragic spectatorship in the theater is similar in spirit to the kind of contemplation that Plato advocates for philosophy. In this way, Critchley and Webster suggest that tragedy should be open to examination by philosophers, as Nussbaum ably undertakes to examine tragedies in ancient
Perhaps I should explain here that the theory of emotions that Nussbaum works with in POLITICAL EMOTIONS is based on her 750-page book UPHEAVALS OF THOUGHT: THE INTELLIGENCE OF EMOTIONS (Cambridge University Press, 2001). One reason why POLITICAL EMOTIONS is so readable is that she is summarizing her own thought, but of course she also provides us with specific references if we are interested in fuller discussions.
DIGRESSION: For a relevant study, see Andrea Wilson Nightingale's book SPECTACLES OF TRUTH IN CLASSICAL GREEK PHILOSOPHY: THEORIA IN ITS CULTURAL CONTEXT (Cambridge University Press, 2004). END OF DIGRESSION.
IMAGERY FROM THE ODYSSEY
Nussbaum also deserves an "A" for her use of the Scylla and Charybdis imagery (pages 211-225), which she borrows from the Homeric epic the ODYSSEY.
In the famous episode in the ODYSSEY known as the slaughter of the suitors, Odysseus strings his powerful bow and fires arrow after arrow to kill the suitors and restore justice to his homeland.
Next Page 1 | 2 | 3 | 4 | 5 | 6 | 7
(Note: You can view every article as one long page if you sign up as an Advocate Member, or higher).
