Illegal heirs of Demodocus: a sophistic logos as a tool for the transformation of the universe

IF 0.1 0 PHILOSOPHY
M. Volf
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引用次数: 0

Abstract

Epic songs played an essential didactical role in ancient Greek society, stabilizing it by the maintenance of its moral patterns. To achieve the desired effect on the audience, the aedes used special techniques. The improving aspect of epic poetry is typical for an­cient authors using this genre. On the case of Parmenides’ poem, it is shown that philo­sophical poems follow only partially the principles of the epic genre, corresponding to it in form and, probably, in purpose, but the content has significantly transformed. Even if Parmenides set himself didactical tasks, they were directly related not to the social, but the cognitive sphere. The sophists as teachers of wisdom of the new generation, who pre­served and embodied the didactic claims of bards to preserve and transmit some moral paradigm. They also used ancient techniques: improvisation, mnemonics, stylistic modes. As for didactics, the sophists also taught by patterns, not transferring and preserving an­cient moral ones, but producing them anew, transforming old forms. Illustrations for the construction are given in the surviving speeches of Gorgias based on plot parallels with three songs of Demodocus in the Odyssey – on heroes, love, and insidious decep­tion. It is shown that in the process of the construction, the logos played a role of a tool for changing the world, both for the better and for the worse, and through this process the sophist edits subtly the old moral content, working out the inversion of plot lines. The ha­bitual form justifies and legitimizes the novelty of the content, and the audience, fasci­nated by the word, gradually accepts this novelty. In sum, sophists shape the moral para­digm through epic techniques, correlating ethics with the cognitive sphere, however, un­like Parmenides, the main emphasis is placed not on divine thinking, and apprehension (doxa), but on the descriptive and discursive nature of the world’s cognition.
Demodocus的非法继承者:诡辩的逻各斯作为改造宇宙的工具
史诗歌曲在古希腊社会中发挥了重要的教学作用,通过维持其道德模式来稳定社会。为了达到对观众的预期效果,伊蚊使用了特殊的技巧。史诗的改进方面是古代作家使用这种体裁的典型特征。以巴门尼德的诗为例,我们可以看到哲学诗只是部分地遵循史诗体裁的原则,在形式上,也许在目的上,与之相对应,但内容却发生了显著的变化。即使巴门尼德给自己设定了教学任务,它们也不是直接与社会领域相关,而是与认知领域相关。诡辩家是新一代的智慧导师,他们保留并体现了吟游诗人的说教主张,以保存和传播一些道德范式。他们也使用古老的技巧:即兴创作,记忆法,风格模式。至于教学,诡辩家也通过模式进行教学,不是转移和保留古代的道德规范,而是产生新的道德规范,改变旧的形式。在高尔吉亚现存的演讲中给出了这种结构的说明,这些演讲的情节与《奥德赛》中Demodocus的三首歌相似——关于英雄、爱情和阴险的欺骗。结果表明,在构建过程中,逻各斯发挥了改变世界的工具作用,既向好的方向发展,也向坏的方向发展,通过这一过程,诡辩家巧妙地编辑了旧的道德内容,实现了情节线的反转。这种双向形式使内容的新颖性正当化和合法化,而被文字所吸引的观众也逐渐接受了这种新颖性。总而言之,诡辩家通过史诗技巧塑造道德范式,将伦理与认知领域联系起来,然而,与巴门尼德不同的是,主要的重点不是放在神圣的思考和理解(doxa)上,而是放在对世界认知的描述性和话语性上。
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来源期刊
Filosofskii Zhurnal
Filosofskii Zhurnal PHILOSOPHY-
CiteScore
0.30
自引率
50.00%
发文量
25
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