BEGIN:VCALENDAR VERSION:2.0 PRODID:-//208.94.116.123//NONSGML kigkonsult.se iCalcreator 2.26.9// CALSCALE:GREGORIAN METHOD:PUBLISH X-FROM-URL:https://www.noahgreenstein.com/wordpress X-WR-TIMEZONE:America/New_York BEGIN:VTIMEZONE TZID:America/New_York X-LIC-LOCATION:America/New_York BEGIN:STANDARD DTSTART:20231105T020000 TZOFFSETFROM:-0400 TZOFFSETTO:-0500 RDATE:20241103T020000 TZNAME:EST END:STANDARD BEGIN:DAYLIGHT DTSTART:20240310T020000 TZOFFSETFROM:-0500 TZOFFSETTO:-0400 RDATE:20250309T020000 TZNAME:EDT END:DAYLIGHT END:VTIMEZONE BEGIN:VEVENT UID:ai1ec-7938@www.noahgreenstein.com/wordpress DTSTAMP:20240329T005400Z CATEGORIES;LANGUAGE=en-US:New School for Social Research CONTACT:https://event.newschool.edu/gwengrewal DESCRIPTION:
Book discussion on Gwenda-lin Grewal’s\, Thinking A bout Death in Plato’s Euthydemus. A Close Reading and New Translation (OUP 2022)
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Speakers:
\nGwenda-lin Grewal (NSSR)
\nCinzia A
rruzza (NSSR)
\nNicholas Pappas (CUNY)
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Thinking of Death places Plato’s Euthydemus among the dialo gues that surround the trial and death of Socrates. A premonition of philo sophy’s fate arrives in the form of Socrates’ encounter with the two-heade d sophist pair\, Euthydemus and Dionysodorus\, who appear as if they are t he ghost of the Socrates of Aristophanes’ Thinkery. The pair vacillate bet ween choral ode and rhapsody\, as Plato vacillates between referring to th em in the dual and plural number in Greek. Gwenda-lin Grewal’s close readi ng explores how the structure of the dialogue and the pair’s back-and-fort h arguments bear a striking resemblance to thinking itself: in its immersi ve remove from reality\, thinking simulates death even as it cannot concei ve of its possibility. Euthydemus and Dionysodorus take this to an extreme \, and so emerge as the philosophical dream and sophistic nightmare of bei ng disembodied from substance. The Euthydemus is haunted by philosophy’s t enuous relationship to political life. This is played out in the narration through Crito’s implied criticism of Socrates-the phantom image of the At henian laws-and in the drama itself\, which appears to take place in Hades . Thinking of death thus brings with it a lurid parody of the death of thi nking: the farce of perfect philosophy that bears the gravity of the city’ s sophistry. Grewal also provides a new translation of the Euthydemus that pays careful attention to grammatical ambiguities\, nuances\, and wit in ways that substantially expand the reader’s access to the dialogue’s myste ries.
\nNietzsche (1844-1900) is one of the few philosophers who have a n intimate connection to music. This connection has much to do with his ea rly music education. His contemporaries testify that he was a good pianist . His musical ambition\, or his musical daimon\, urged him to compose musi c\, although he had no training in this area. Most of his compositions are from his late teens\; his earliest inspirations are Beethoven\, Mozart\, Haydn\, Schubert\, Schumann and Wagner. His compositions were gathered tog ether and published by Curt Paul Janz in Friedrich Nietzsche\, Der musikal ische Nachlass. Nietzsche’s music is available in several productions. How ever\, Nietzsche did not follow a musical path and decided to become a phi lologist and dedicated his life to writing and philosophy.
\nNietzsc he’s background in music\, on the other hand\, influenced his way of think ing and writing. All of these interesting areas between music\, literature \, and philosophy and Nietzsche’s relationship to music understood on a br oad spectrum have been explored by many Nietzsche scholars including Georg es Liébert\, Graham Parkes\, Francois Noudelmann\, Stefan Lorenz Sorgner a nd others and in the anthology\, An Anthology on Nietzsche and Music: Phil osophical Thoughts and Musical Experiments\, edited by the presenters of t oday’s event. This event is dedicated to the exploration of this relations hip between Nietzsche and music.
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