Bernat Torres Morales

catalaEl present estudi ofereix una visio amplia i completa del lloc que ocupa la corporalitat enel pensament de Plato a traves d’observar la seva presencia en diversos dialegs, especialmentel Fedo, el Timeu, el Fileb i el Cratil. La corporalitat, tot i no rebre un tractamentsistematic per part de l’autor atenes, acostuma a apareixer en contextos en que es descriul’anima (i el proces de coneixement o del desig) o es reflexiona sobre el lloc de l’home enrelacio amb el cosmos (en tant que el nostre cos huma participa del cos cosmic). La tesique defensem es que en Plato el cos representa un tret definitori de l’esser huma que te unanaturalesa sempre indeterminada i inestable que nomes pot ser governada parcialment peruna cura de l’anima, es a dir, per un govern d’allo corporal des de l’anima o la racionalitat.Aquest fet, tanmateix, no implica la maldat del cos ni tampoc confirma una visio estrictamentdualista entre cos i anima. Els dialegs platonics, des de la seva complexitat, il·luminen la nocio de corporalitat en un sentit que pot ajudar a ampliar i aprofundir els estudisactuals sobre aquesta questio. EnglishThe paper provides a broad and complete study of the question of embodiment in Plato’swork, through its presence in various dialogues, especially the Phaedo, the Timaeus, thePhilebus and Cratylus. Although the concept is not systematically addressed by Plato, itoften appears in different contexts to describe the soul (the process of knowledge, perceptionand desire) and the place of the human being in the cosmos (with which our bodyshares a common nature). Our thesis is that Plato considers the body to be a definingfeature of the human being that has an essentially undetermined and changing nature thatcan be only partially governed through the care of the soul. This, however, does not implya malaise of the body or a strictly dualistic vision of body and soul. The Platonic dialoguesilluminate the question of embodiment in a manner that is helpful for informing a broaderpoint of view useful to current studies on this issue.

El text recull el conjunt de les aporacions dels participants en el Seminari «Incursions en el Fileb», celebrat a Coimbra els dies 2 i 3 de juliol de 2009. Les aportacions versen sobre diverses qüestions del text del Fileb i intenten oferir una lectura del tot del diàleg des de diverses perspectives. Paraules clau: Plató, Fileb, hermenèutica, plaer, raó.The text includes a sumari of all the contributions in the seminar «incursions into Philebus» held in Coimbra on 2 and 3 July 2009. The contributions, focusing on various issues of the Philebus’ text, aim to a comprehensive reading of the whole dialogue from different perspectives. Key words: Plato, Philebus, hermeneutics, pleasure, reason

The paper focuses on the presence of friendship or philia and its different forms in Plato’s Philebus. We will analyse firstly the relevance of philia in order to initiate a proper dialectical research, in this case the one that needs to be engaged between Socrates and Protarchus, the friend and follower of Philebus (the lover of youth and the lover of pleasures) at the beginning of the Philebus; the relevance of philia concerning dialectics in the Philebus (Phil. 12c-20a) will also be compared with other attempts to engage in dialogue in works like the Menon.  Secondly, we will explore the connections between friendship and malevolence or phtonos (and its bonds with geloion and agnoia) that the Philebus establishes (Phil. 49c7-50a10). This connection aims to illustrate, in front of Protarchus, the hidden mixture of pleasure and pain that constitutes human life. Finally, from the connections found between friendship and malevolence, we will explore the possible references to different historical or non-historical characters, like Aristophanes or the enemies of Philebus, with whom Socrates seems to have a kind of relationship more or less distant from friendship and always governed by respect.

La descripción de lo cómico y lo ridículo en el Filebo de Platón se encuentra situada en un contexto argumentativo y dramático que merece la pena de revisar. La experiencia cómica, descrita a partir de las nociones de ridículo, ignorancia y malevolencia, persigue en el Filebo, completar unas explicaciones sobre las distintas mezclas entre placer y dolor que constituyen nuestra existencia cotidiana. En el trasfondo de la descripción socrática encontramos elementos intra- y extradialogales que nos permiten entender en más profundidad las experiencias vinculadas al ridículo y lo cómico así como el arte de la escritura platónica. La disputa entre la filosofía y la poesía, y también la disputa entre la filosofía y la ciudad, se sitúan en el trasfondo de todas estas cuestiones.

The contribution focuses on describing the relevance of bodily movement, specifically in the case of dance, in Platonic thought. The paper is divided into three parts: it firstly clarifies that beyond the clear hierarchy between body and soul that the Platonic dialogues highlight, we find a demand to settle down in our body with simplicity in order to take possession of it (cf. Phaedrus, 270b; Timaeus, 86b1-c4; 88b5-d1). The care of the body made from the logic of simplicity manifests itself very clearly in the preference for diets in medicine (cf. Timaeus 87c-d; La república, 404c-e; 405c-408c; Entralgo, 2001; 2005), in the practice of gymnastics (cf. Timaeus, 89a; Phaedrus, 248d), but also in the exercise of music and dance. Secondly, the paper clarifies how dance is introduced in the Laws as an essential part of the education of children and also of adults, since it is through it that the harmonious and rhythmic movement of the body is united with the pleasure. The well-educated citizen is the one who is able to sing and dance well (and also, along with this, the one who knows how to drink well in the context of symposia) (Laws, 653e9-654b7). Finally, in the third part the paper focuses on contemporaneity and reflects on how the body as an expression of the cosmic order as it appears in the Timaeus inspires the work of the contemporary choreographer Rudolf Laban (Choreutics, 1966). Addressing the way in which contemporary' art and also musical education takes advantage of and is inspired by Platonic work, the paper defends the richness and originality of Plato's treatment of corporeality as well as its possible limitations.

This article aims to show the anthropological and political relevance of logos or rationality as understood by Eric Voegelin. The paper is divided into two parts, the first elaborates what Voegelin considers to be the discovery of logos by Plato and Aristotle, which represents a historical and at the same time epistemological phenomenon of self-illumination of the human psyche. Through the concept of logos, the human soul is discovered and, with it the political reality can be ordered and organized. The second part of the article focuses on this political dimension of logos or rationality as an element that allows the foundation of political science as it is exposed in Voegelin's The New Science of Politics (1952), and the concept of political representation as a central element of Voegelin's political philosophy is explored.

The paper presents a dialogue, between contemporary phenomenology and Plato, on the nature and complexity of pain. Taking as a departure point D. Leder’s article «The experiential paradoxes of pain», the article delves into the essentially liminal character of pain and focusses afterwards in two paradoxes that this experiences reveals. The first one is the one that describes pain as a sensation and also as an interpretation; the second one is the one that describes pain as a destructive and also productive experience. Throughout the article we will see that the Platonic approach, although being much more holistic (in the sense of combining always the persona, ethical, political and also cosmological perspective), is not far away from the phenomenological one. That both approaches try to set limits and to describe an experience that escapes all limitations and determinations.

catalaEl present estudi ofereix una visio amplia i completa del lloc que ocupa la corporalitat enel pensament de Plato a traves d’observar la seva presencia en diversos dialegs, especialmentel Fedo, el Timeu, el Fileb i el Cratil. La corporalitat, tot i no rebre un tractamentsistematic per part de l’autor atenes, acostuma a apareixer en contextos en que es descriul’anima (i el proces de coneixement o del desig) o es reflexiona sobre el lloc de l’home enrelacio amb el cosmos (en tant que el nostre cos huma participa del cos cosmic). La tesique defensem es que en Plato el cos representa un tret definitori de l’esser huma que te unanaturalesa sempre indeterminada i inestable que nomes pot ser governada parcialment peruna cura de l’anima, es a dir, per un govern d’allo corporal des de l’anima o la racionalitat.Aquest fet, tanmateix, no implica la maldat del cos ni tampoc confirma una visio estrictamentdualista entre cos i anima. Els dialegs platonics, des de la seva complexitat, il·lumi...

Resum: El present escrit se centra en l'anàlisi del revestiment dramàtic del Fileb de Plató. Concretament, examina la rellevància dels silencis en aquest diàleg. Després d'una breu introducció al concepte de revestiment dramàtic o fenomenologia dramàtica per tal d'ac-cedir al diàleg platònic, el text exposa dues formes amb què es presenten els silencis en el Fileb. La primera és a través del silenci quasi permanent del personatge Fileb, el jove defensor de l'hedonisme. El seu silenci prova tenir una forta significació per entendre la seva radical visió sobre la felicitat i és, a més, una forma de confrontació contra el logos socràtic o dialèctic. La segona és el mutisme de Protarc, el qual, enfront l'examen socrà-tic, queda afectat en el seu dir en un moment molt determinat del text. El jove seguidor de Fileb, amant dels discursos, pateix un mutisme amb una forta significació. El silenci momentani de Protarc i el permanent de Fileb conformen elements dramàtics que com-pleten i permeten un accés al tot del diàleg. Abstract: The paper focuses on the analysis of the dramatic elements of the Plato's Phile-bus. Specifically, it focuses on examining the relevance of silences in this dialogue. After a brief introduction to the concept of dramatic phenomenology as a way to access the pla-tonic dialogue, the text examines two forms with which the silences are presented in the Philebus. The first one is through the almost permanent silence of the character Philebus, the young defender of hedonism. His silence has a strong significance to understand his radical vision of pleasure and happiness and serves also as a tool to confront the Socratic dialectical logos. The second is the Protarcus aphasia, produced in a very specific moment of the Socratic enquiry. Philebus' young follower, a lover of the speeches, suffers from a mutism that has a strong dramatic significance. The momentary silence of Protarcus and Philebus' permanent one, are both dramatic elements that complete and allow access to the whole of the dialogue.

La seriedad que ha dominado la lectura de la obra de Platon en nuestra tradicion no es ajena al temprano protagonismo que adquirio la interpretacion neoplatonica de la obra del filosofo ni a la importante presencia que el neoplatonismo adquirio en el largo proceso de elaboracion doctrinal del cristianismo a partir del siglo II. Este olvido del recurso al humor condicionaria con frecuencia y de modo significativo la recta comprension de los dialogos. Al leer la obra de Platon, descubrimos, por otro lado, que el recurso al humor no se reduce a la muy comentada ironia socratica, sino que encontramos tambien bromas entre los personajes, juegos de palabras, imitaciones parodicas de hombres ilustres, chascarrillos graciosos, burlas y comedia de situaciones; encontramos, en resumen, un extenso y variado repertorio de recursos comicos puestos al servicio de la eficaz transmision de contenidos serios. Porque, no lo olvidemos, el humor en Platon esta sometido a la expresion eficaz de lo que e...

El text recull el conjunt de les aporacions dels participants en el Seminari «Incursions en el Fileb», celebrat a Coimbra els dies 2 i 3 de juliol de 2009. Les aportacions versen sobre diverses questions del text del Fileb i intenten oferir una lectura del tot del dialeg des de diverses perspectives.

One of the main features of Eric Voegelin’s work is his willingness to confront the situation of political disorder through a recovery of classical political philosophy and, more precisely, through a recovery of Plato’s political philosophy.1 We could say that his task is that of clarifying and examining what is relevant in the study of human beings and political life. Faced with the complex political situation in which he lived, Voegelin tried to revive the form of confrontation with political situations that characterizes Platonic and Aristotelian political science. The core of Voegelin’s thought is to formulate a theory of man, society, and history based on a theory of order—a project that assumes that there is a connection between order in the soul, order in the city, and order in the cosmos. He himself affirms that his attempt is originally to create “a new social field of existential order in competition with the fields whose claim to truth has become doubtful.”2 According to ...

... Als dos darrers punts de l'article, Reale tracta de l'ús que fa Plató del joc de mise en abîme al Fileb i al Fedre sense deixar de banda la crítica a Gadamer. ... De fet, Reale ho afirma sobre la base de les lectures del Fedre i de la Carta VII. ...

Resum: El present escrit se centra en l'anàlisi del revestiment dramàtic del Fileb de Plató. Concretament, examina la rellevància dels silencis en aquest diàleg. Després d'una breu introducció al concepte de revestiment dramàtic o fenomenologia dramàtica per tal d'ac-cedir al diàleg platònic, el text exposa dues formes amb què es presenten els silencis en el Fileb. La primera és a través del silenci quasi permanent del personatge Fileb, el jove defensor de l'hedonisme. El seu silenci prova tenir una forta significació per entendre la seva radical visió sobre la felicitat i és, a més, una forma de confrontació contra el logos socràtic o dialèctic. La segona és el mutisme de Protarc, el qual, enfront l'examen socrà-tic, queda afectat en el seu dir en un moment molt determinat del text. El jove seguidor de Fileb, amant dels discursos, pateix un mutisme amb una forta significació. El silenci momentani de Protarc i el permanent de Fileb conformen elements dramàtics que com-pleten i permeten un accés al tot del diàleg. Abstract: The paper focuses on the analysis of the dramatic elements of the Plato's Phile-bus. Specifically, it focuses on examining the relevance of silences in this dialogue. After a brief introduction to the concept of dramatic phenomenology as a way to access the pla-tonic dialogue, the text examines two forms with which the silences are presented in the Philebus. The first one is through the almost permanent silence of the character Philebus, the young defender of hedonism. His silence has a strong significance to understand his radical vision of pleasure and happiness and serves also as a tool to confront the Socratic dialectical logos. The second is the Protarcus aphasia, produced in a very specific moment of the Socratic enquiry. Philebus' young follower, a lover of the speeches, suffers from a mutism that has a strong dramatic significance. The momentary silence of Protarcus and Philebus' permanent one, are both dramatic elements that complete and allow access to the whole of the dialogue.

The paper presents a study on the presence of Homer in Plato's Philebus. After a brief summary of the dialogue and after indicating a couple of implicit references to Homer to be found in the Platonic text (like the figure of Aphrodite and the image of the journey of Ulysses), the work focuses on analysing the two single explicit appearances of Homer in Plato's Philebus. The first one in Philebus 47e, corresponding to the 18th book of the Iliad (108-109); the second one in Philebus 62d corresponding to the fourth book of the Iliad (450-456). The paper analyses these references in detail, examining Platoʹs use of the Homeric poems and analysing their significance, often hidden, in the dialogue as a whole. The analysis also shows the importance of the equivalences between Homer and Plato, that is, the similar or dissimilar treatment that they make of some important issues, like the description of human emotions, the confrontation between gods and men or the search for truth. ELS USOS D'HOMER AL FILEB DE PLATÓ RESUM L'escrit presenta un estudi de la presència d'Homer en el Fileb de Plató. Després d'un breu resum del diàleg i d'indicar un parell de referències implícites a Homer que es troben en el text platònic (com la figura d'Afrodita i la imatge del viatge d'Ulisses), el treball se centra en analitzar les dues aparicions explícites d'Homer en el diàleg, les quals remeten a la Ilíada. La primera es troba a Fileb 47e i ens remet al llibre 18 de la Ilíada (108-109); la segona es troba a Fileb 62d i ens remet al llibre 4 de la Ilíada (450-456). El treball analitza aquestes referències de forma detallada, observant l'ús que fa Plató dels poemes homèrics i analitzant la significació, sovint oculta, que una lectura atenta de les referències aporta a la comprensió del text platònic i també al joc d'equivalències entre ambdós autors antics, és a dir, als llocs comuns entre la manera de tractar certs problemes, com la relació entre homes i déus, les emocions o la recerca de la veritat. In Plato's Philebus, Socrates is presenting to the reader a reflection about the best possible life; the dialogue, in its description of human nature, delves into the manifold of experiences of pleasure and pain and elevates toward the contemplation of reason as the source of order both in human life and in the cosmos. As human beings we are in the in-between, in the μεταξύ, we live between a desired and never reached fulfillment and an immediate experience of emptiness and lack; we are always impelled to decide, as Socrates makes perfectly clear in the conclusive page of the dialogue, between the authority of

This article examines the notions of authority and tradition in the thought of Hannah Arendt (1906-1975) to see how they are related with her conception of education. The world must be protected from its deterioration thanks to the introduction of new elements in it, the newborn that need to be educated. However, the educational task, despite being essential for the preservation of the world, must be carried out in a context where the elements needed to fulfill this task (authority and tradition) are in a deep crisis.

The paper defends the notion that cosmopolitanism is an important starting point for addressing political identities, but one that needs to be rethought. The paper starts by exposing some political situations both in Europe and in North America where the debate on national identity is faced with the need for a renewed idea of cosmopolitanism, an idea that must be differentiated from similar notions such as cultural diversity or multiculturalism, but also from the idea of globalization. It shows in this sense that there is an important and often forgotten difference between cosmopolitanism and politics, an essential difference when thinking about the real situation in Europe. The paper explains how contemporary cosmopolitanism has its roots in the Stoic and Kantian ideals, ideals that are no longer serviceable and that need to be renewed to confront the new demands of the complexity of the world. The paper concludes defending a new cosmopolitanism (tending towards the line of Hans Jonas or Yves Charles Zarka) that should be respectful to politics (but
without forgetting that cosmopolitanism should be prioritised over politics) and also with different national or supranational identities, since it in fact provides a meta-identity for man as a citizen of the world.

XI. Ridículo, ignorancia y malevolencia. El tratamiento de lo cómico en el «Filebo» de Platón * Bernat Torres Morales 1. La presencia de lo cómico en el argumento y la acción dramática del Filebo En el Filebo de Platón cabe decir que se hacen pocas bromas, aunque el tema de la conversación sea la felicidad, la buena vida, y la contribución que en ella tienen el placer, el dolor y la racionalidad. En las conclusiones del diálogo, en la composición de la mejor de las vidas, no parece haber lugar para lo cómico (al menos para lo cómico tal y como se describirá a continuación), pero sí aparente-mente para la música (Filebo 64c-66d). Sin embargo, lo cómico, junto a lo ridículo y lo risible, se presentan tanto en la acción dramática como en el argumento mismo del diálogo de manera significativa. Efectivamente, en un determinado momento del Filebo, Sócrates indica la necesidad de profundizar en la esencia de lo que sea la * Este articulo forma parte de los trabajos realizados dentro de los grupos EIDOS, Hermenéutica, Platonismo y Modernidad (Universitat de Barcelona) y también del grupo SARX (Grupo de investigación en antropología de la corpora-lidad) (Universitat Internacional de Catalunya).

El presente artículo ofrece una exposición del tratamiento platónico de la cuestión del placer. Presenta las tesis que se exponen sobre esta cuestión en diversos diálogos intentando situarla en el conjunto de la temática de cada texto y, al mismo tiempo, en relación con los otros diálogos. Muestra que la posición platónica frente al placer no es de mera crítica o negación y que tampoco se deriva de ella una teoría sistemática, sino que Platón se enfrenta a esta cuestión con las armas de la filosofía, es decir, con la reflexión que se esfuerza para entender la complejidad de la realidad y del alma humana, en la cual el placer, el dolor y los diversos sentimientos conviven inevitablemente con la razón. La finalidad de la reflexión platónica sobre el placer es la de situarlo en el conjunto de la realidad humana tanto a nivel personal como político.