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The Choreographic Writing of the Law in Plato’s Nomoi
애들러안소니 한국비평이론학회 2010 비평과이론 Vol.15 No.2
The Laws, Plato’s longest dialogue and also one of his last, has often been read as either a “popularization” of his more esoteric philosophy, if not a “degenerate” turn away from the rigors of philosophical discourse, or as the attempt to articulate a “second-best republic,” acceding to the limitations of reality. It is only recently, with the work of Leo Strauss, Eric Voegelin, and Seth Benardete, that scholars have begun to recognize the full importance of the Laws within Plato’s oeuvre. Yet even these readings, while acknowledging the originality of the Laws, nevertheless tend to subordinate the Laws to the metaphysics (and political theology) of the middle dialogues, and above all the Republic. The following paper will argue that the Laws represents a much more fundamental revision of Plato’s metaphysics than has been recognized. Indeed, it marks a turn away from metaphysics to a concept of political, and ultimately philosophical, choreography. The focus of my paper is on several deliberate inversions and transformations of the imagery and conceptual hierarchies of the Republic. By challenging the dichotomy of the playful and the serious (and, accordingly, theory and practice, and speech and writing) upon which Plato’s earlier metaphysics depends, the Laws insists on the impossibility of the separation, given such powerful expression in the cave analogy of the Republic, of philosophy from everyday life. The Laws also transforms the motif of the cave: the interlocutors of the Laws are on a pilgrimage towards the cave and temple of Zeus, the legendary site of the original lawgiving of the Minoan kingdom. And finally, the Laws challenges Plato’s earlier understanding of the relation between the political and poetic work — unlike in the Republic, where the former is the imitation of the idea of the good, and the latter a mere imitation of an imitation, poetry and politics are placed on the same level. These various inversions and transformations, I argue, suggest a fundamental change in Plato’s understanding of the nature of philosophy: the laws no longer represent an image of a truth that has been securely grasped in an act of philosophical intuition, but instead prescribe forms of praxis that, if followed, will bring a community of beings nearer to an experience of a truth that has only been glimpsed and not securely grasped.
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애들러안소니 한국비교문학회 2010 比較文學 Vol.0 No.52
The following paper compares Goethe’s Wilhelm Meister to the Metamorphoses, also known as the Golden Ass, of Apuleius, arguing that the Meister-novels involve a subtle transformation of Apuleius’s novel of transformation. In this way I hope to argue that the putative realism of the modern novel should not be understood merely as the triumph of secularization, but in fact has a theological basis. At the center of this hidden theology of the novel is the concept of curiosity: Wilhelm Meister receives, and transforms, Apuleius’s treatment of curiosity. In contrast to Augustine, Apuleius will regard curiosity not as merely sinful, but as leading towards a certain kind of salvation. Wilhelm Meister will radicalize this theology of curiosity: curiosity saves us by initiating us into the world, understood not as the merely real opposed to the ideal and transcendent, but as nature in its abiding openness to change and transformation.
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Hölderlin's "Mnemosyne": Philology, Literary Nationalism, and the Myth of the Monolingual
애들러안소니 한국비교문학회 2013 比較文學 Vol.0 No.60
When literary scholars speak of "bilingual" and "multilingual" writers, they usually presuppose a very restricted understanding of what it means to "have" a language, in which the norm is the "native" competence of the speaker of a mother tongue. This understanding of "multilingualism" rests on the modern science of linguistics, which, rejecting the methods of traditional philology, privileges the oral over the written in conceiving of "language" as the subject of investigation. Yet it is also rooted in the aesthetic ideologies of both Classicism and Romanticism, which agree with each other in insisting on a "monolingual" philosophy of history, where history involves the departure from and return to the One language in which meaning is secured and becomes immanent to itself. I will argue, against this, that a very different concept of bilingualism and multilingualism is possible, on the basis of an experience of language that is not linguistic and oral but grammatical and philological. Such a concept, I further claim, is exemplified in the poetry of Friedrich Hölderlin. While many readers of Hölderlin have sought to conceive of his relation to ancient Greece and Greek as if they were his true native land and mother tongue, and have, at the same, stressed his authentic and singular relation to the German language, I call attention to the central importance of his learned, scholastic relation to Ancient Greek, a language that he learned in school in preparation for a clerical vocation. To this end, I offer a reading of Hölderlin's hymn "Mnemosyne." Named after the mother of the muses and the goddess of memory, this poem presents a very different concept of poetic memory, conceiving of it not as the recollection of authentic experience but as the revival of scholarly lore that has never been experienced first-hand. In this way, Hölderlin seeks to turn his own "native" German into a learned, scholarly language.
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