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How Normative Is the Greek Chorus? Spinoza, Rorty, Davidson and Sophocles

Geometry of Know

A passing comment recalled to me a certain conceptual break through. I was studying Davidson’s “Three Varieties of Knowledge”which presents his theory of Triangulation while at the same time studying narratology, and looking into Bakhtin. For some reason discussion of mimetic and deitic elements suddenly struck me as revealing of the elemental Greek Tragedy structure (Hero, Chorus, Audience), and I realized that Greek Tragedy exemplified Davidson key epistemological point, that we attain objective knowledge due to our largely coherent, belief-veridical, intersubjective knowledge of others (with Wittgenstein’s Private Language argument playing an integral part). The Tragic Chorus formalized an essential epistemo-ontological ground, a necessarily reflective element within the field of the real which indicated to us something of what the real was, as if it were us. And just as quickly it seems, I realized that Davidson’s Triangulation was the same sort of argument  Spinoza put forth which grounded the “social” within the imaginary powers of an imitation of affects – E3p27 (we feel what others we take to be like us are feeling). That is, there is a bio-kinesthetic linking of affective capacities with perception ordering itself which allows affects to ripple through and across bodies in  a reportive, if imaginary way. The broadcastive behavioral forms of other things condition our own experiences, determining them along a causal vector, in a sense normatively and charitably making rational, affective wholes without which the world could not coherently exist.

The Normativity of Truth

Thought comes to mind about Rorty’s wonderful reversal of a decade of dispute with his ally Donald Davidson, wherein he realized that indeed there is a place for a Theory of Truth in Philosophy. His realization was that without a community of users, there is no language game, and a community requires normativity (presumably of use, behavior and experience). As he put it, Prescription precedes Description. It was here, in prescription, in normativity, that the powers of our descriptions lie. So to complete full circuit, if indeed Greek Chorus performs the middle (intersubjective) leg of Donald Davidson’s Triangulation of three knowledges, just how normative is the Greek Chorus?

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