Studies the philosophical development of the meaning of the Greek word eoikos, which can be used to describe similarity, plausibility or even suitability. It focuses on Xenophanes, Parmenides and Plato's Timaeus and shows how such a study serves to enhance our understanding of their epistemology and methodology.

Zina Giannopoulou argues that Theaetetus—Plato's most systematic examination of knowledge—is a philosophically sophisticated elaboration of Apology that successfully differentiates Socrates from the sophists. In Apology Socrates defends his philosophical activity partly by distinguishing it from sophistic practices, and in Theaetetus he enacts this distinction: the self-proclaimed ignorant and pious Socrates of Apology poses as the barren practitioner of midwifery, an art that enjoys divine support, and helps his pregnant interlocutor to engender his ideas. Whereas sophistic expertise fills others' souls with items of dubious epistemic quality, Socratic midwifery removes, tests, and discards falsities. In Theaetetus Plato drapes the Socrates of Apology with obstetric garb and stages a philosophical contest between him and the seemingly wise men with whose definitions Theaetetus' soul teems, chief among whom is Protagoras. By proving the indefensibility of these definitions, Socrates challenges their authors' wisdom—since for him no one can justifiably be said to have knowledge if he cannot give an account of knowledge. On the other hand, his own inability to procure the definition he seeks confirms his assertion that he lacks wisdom. Giannopoulou goes on to explore how in Apology Socrates claims that his wisdom consists in his awareness of his lack of wisdom, and in Theaetetus he validates this claim: his attempt to discover what knowledge is, coupled with his intellectual barrenness, shows both that he does not have what he is looking for and why this is the case.

This volume offers a wide-ranging study on perception in the Timaeus, not only discussing senses such as touch, taste, and olfaction alongside audition and vision but also engaging with Timaeus’ wider cosmological project. Most studies of perception in the Timaeus focus on a few narrow passages on vision and audition. By taking the broader approach of this volume, important lessons about the nature of perception may be gleaned from Timaeus’ cosmogony, psychogony, and anthropogony. While there is an emerging modern consensus that the Timaeus should be read literally, this study argues against a literal interpretation of the spatial and kinetic properties of the soul in favour of a metaphorical understanding. Not only does this yield a rich account of the intentionality of cognition but also sheds light onto the nature of the soul-body union. In addition, this volume argues for the largely overlooked significance of Timaean anatomy, as it contributes to our understanding of the providential scheme of Timaeus’ cosmology more generally. Cosmos and Perception in Plato’s Timaeus is of interest to students and scholars of the Timaeus and Plato’s thought more broadly, as well as those working on ancient theories of perception and the philosophy of mind.

In ancient Greece, philosophers developed new and dazzling ideas about divinity, drawing on the deep well of poetry, myth, and religious practices even as they set out to construct new theological ideas. Andrea Nightingale argues that Plato shared in this culture and appropriates specific Greek religious discourses and practices to present his metaphysical philosophy. In particular, he uses the Greek conception of divine epiphany - a god appearing to humans - to claim that the Forms manifest their divinity epiphanically to the philosopher, with the result that the human soul becomes divine by contemplating these Forms and the cosmos. Nightingale also offers a detailed discussion of the Eleusinian Mysteries and the Orphic Mysteries and shows how these mystery religions influenced Plato's thinking. This book offers a robust challenge to the idea that Plato is a secular thinker.

The book explores the development of Platonic philosophy by Roman writers between the first century BCE and the early fifth century CE. Discusses the interpretation of Plato's Timaeus by Cicero, Apuleius, Calcidius, and Augustine, and examines how they contributed to the construction of the complex and multifaceted genre of Roman Platonism.

Plato’s Timaeus is unique in Greek Antiquity for presenting the creation of the world as the work of a divine demiurge. The maker bestows order on sensible things and imitates the world of the intellect by using the Forms as models. While the creation-myth of the Timaeus seems unparalleled, this book argues that it is not the first of Plato’s dialogues to use artistic language to articulate the relationship of the objects of the material world to the world of the intellect. The book adopts an interpretative angle that is sensitive to the visual and art-historical developments of Classical Athens to argue that sculpture, revolutionized by the advent of the lost-wax technique for the production of bronze statues, lies at the heart of Plato’s conception of the relation of the human soul and body to the Forms. It shows that, despite the severe criticism of mimēsis in the Republic, Plato’s use of artistic language rests on a positive model of mimēsis. Plato was in fact engaged in a constructive dialogue with material culture and he found in the technical processes and the cultural semantics of sculpture and of the art of weaving a valuable way to conceptualise and communicate complex ideas about humans’ relation to the Forms.

A reading of the death of Socrates as a self-sacrifice, with implications for ideas about suffering, wisdom, and the soul’s relationship to the body. In Without the Least Tremor, M. Ross Romero considers the death of Socrates as a sacrificial act rather than an execution, and analyzes the implications of such an understanding for the meaning of the Phaedo. Plato’s recounting of Socrates’s death fits many of the conventions of ancient Greek sacrificial ritual. Among these are the bath, the procession, Socrates’s appearance as a bull, the libation, the offering of a rooster to Asclepius, the treatment of Socrates’s body and corpse, and Phaedo’s memorialization of Socrates. Yet in a powerful moment, Socrates’s death deviates from a sacrifice as he drinks the pharmakon “without the least tremor.” Developing the themes of suffering and wisdom as they connect to this scene, Romero demonstrates how the embodied Socrates is setting forth an eikôn of the death of the philosopher. Drawing on comparisons with tragedy and comedy, he argues that Socrates’s death is more fittingly described as self-sacrifice than merely an execution or suicide. After considering the implications of these themes for the soul’s immortality and its relationship to the body, the book concludes with an exploration of the place of sacrifice within ethical life.