Hallvard Fossheim – författare

How should I live? How can I be happy? What is happiness, really? These are perennial questions, which in recent times have become the object of diverse kinds of academic research. Ancient philosophers placed happiness at the centre of their thought, and we can trace the topic through nearly a millennium. While the centrality of the notion of happiness in ancient ethics is well known, this book is unique in that it focuses directly on this notion, as it appears inthe ancient texts. Fourteen papers by an international team of scholars map the various approaches and conceptions found from the Pre-Socratics through Plato, Aristotle, Hellenistic Philosophy, to the Neo-Platonists and Augustine in late antiquity. While not promising a formula that can guarantee agreater share in happiness to the reader, the book addresses questions raised by ancient thinkers that are still of deep concern to many people today: Do I have to be a morally good person in order to be happy? Are there purely external criteria for happiness such as success according to received social norms or is happiness merely a matter of an internal state of the person? How is happiness related to the stages of life and generally to time? In this book the reader will find an informeddiscussion of these and many other questions relating to happiness.

How should I live? How can I be happy? What is happiness, really? These are perennial questions, which in recent times have become the object of diverse kinds of academic research. Ancient philosophers placed happiness at the centre of their thought, and we can trace the topic through nearly a millennium. While the centrality of the notion of happiness in ancient ethics is well known, this book is unique in that it focuses directly on this notion, as it appears inthe ancient texts. Fourteen papers by an international team of scholars map the various approaches and conceptions found from the Pre-Socratics through Plato, Aristotle, Hellenistic Philosophy, to the Neo-Platonists and Augustine in late antiquity. While not promising a formula that can guarantee agreater share in happiness to the reader, the book addresses questions raised by ancient thinkers that are still of deep concern to many people today: Do I have to be a morally good person in order to be happy? Are there purely external criteria for happiness such as success according to received social norms or is happiness merely a matter of an internal state of the person? How is happiness related to the stages of life and generally to time? In this book the reader will find an informeddiscussion of these and many other questions relating to happiness.

How should I live? How can I be happy? What is happiness, really? These are perennial questions, which in recent times have become the object of diverse kinds of academic research. Ancient philosophers placed happiness at the centre of their thought, and we can trace the topic through nearly a millennium. While the centrality of the notion of happiness in ancient ethics is well known, this book is unique in that it focuses directly on this notion, as it appears in the ancient texts. Fourteen papers by an international team of scholars map the various approaches and conceptions found from the Pre-Socratics through Plato, Aristotle, Hellenistic Philosophy, to the Neo-Platonists and Augustine in late antiquity. While not promising a formula that can guarantee a greater share in happiness to the reader, the book addresses questions raised by ancient thinkers that are still of deep concern to many people today: Do I have to be a morally good person in order to be happy? Are there purely external criteria for happiness such as success according to received social norms or is happiness merely a matter of an internal state of the person? How is happiness related to the stages of life and generally to time? In this book the reader will find an informed discussion of these and many other questions relating to happiness.

Plato’s philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato’s time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues.The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato’s dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato's corpus.

Plato''s philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato''s time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues.The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato''s dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato''s corpus.

Plato''s philosophical dialogues can be seen as his creation of a new genre. Plato borrows from, as well as rejects, earlier and contemporary authors, and he is constantly in conversation with established genres, such as tragedy, comedy, lyric poetry, and rhetoric in a variety of ways. This intertextuality reinforces the relevance of material from other types of literary works, as well as a general knowledge of classical culture in Plato''s time, and the political and moral environment that Plato addressed, when reading his dramatic dialogues.The authors of Philosophy as Drama show that any interpretation of these works must include the literary and narrative dimensions of each text, as much as serious the attention given to the progression of the argument in each piece. Each dialogue is read on its own merit, and critical comparisons of several dialogues explore the differences and likenesses between them on a dramatic as well as on a logical level. This collection of essays moves debates in Plato scholarship forward when it comes to understanding both particular aspects of Plato''s dialogues and the approach itself. Containing 11 chapters of close readings of individual dialogues, with 2 chapters discussing specific themes running through them, such as music and sensuousness, pleasure, perception, and images, this book displays the range and diversity within Plato''s corpus.