Assent and Argument: Studies in Cicero’s Academic Books. by University Professor of Classics and Philosophy Brad Inwood,

By University Professor of Classics and Philosophy Brad Inwood, Jaap Mansfeld, Allen, Keimpe Algra, Professor of Ancient Philosophy Myles Burnyeat, Dorandi, Glucker, Emeritus Fellow of Somerville College Miriam Griffin, Hankinson, George Martin Lane Professo

Cicero's philosophical works are a wealthy resource for the knowledge of Hellenistic philosophy, and his educational Books are of severe value for the learn of historic epistemology, specifically the principal debate among the educational sceptics and the Stoics. This quantity makes Cicero's hard paintings obtainable to philosophers and historians of philosophy and represents the easiest present paintings in either fields.
The ten papers released listed here are the paintings of best gurus from North the United States, England and Europe; they have been awarded and mentioned on the 7th Symposium Hellenisticum at Utrecht, August 1995, and care for each point of the educational Books, old, literary and philosophical.
Several papers make significant contributions to the knowledge of historical scepticism and sceptical arguments, to the position of Socrates in later Greek idea, to the background of the Academy as an establishment, and to the philosophical stance of Cicero himself.

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Extra info for Assent and Argument: Studies in Cicero’s Academic Books. Proceedings of the 7th Symposium Hellenisticum (Utrecht, August 21-25, 1995)

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Mucius Scaevola and, as he reports, to Laelius in De Amicitia. This might lead to the inference that Catulus, after the opening civilities, became the opening speaker in the Catulus. 68 'eo libro quo philosophia a nobis defensa et collaudata est, cum esset accusata et vituperata ab Hortensia'. 69 Hort. frs. 11 (Lucullus) and 21 (Catulus) Grilli (1962). Cf. also Luc. 61 where Lucullus says that Cicero shook Hortensius by his argument in the Hortensius. 70 No support for the conclusion that Catulus was one of the two main speakers can, however, be deduced from the setting in Catulus' villa, as the Hortensius itself was set in a villa of Lucullus while the Lucullus is set in a vi1 1• of Hortensius, who only plays a minor role in the dialogue.

The lost Catulus The known facts are quickly rehearsed: It was entitled the Catulus, Att. 3 (T8), Quintil. 64). The setting was in a villa of Catulus on the Bay of Naples, probably the one at Cumae (Luc. 64 61 Att. 1 (TIS). 62 Cf. Att. 3 in 60 BCE. 63 Att. 5 (Tl6). 64 At Luc. 80: 'Ego Catuli Cumanum ex hoc loco cerno et e regione video, COMPOSITION OF THE ACADEMICA 17 Cicero composed the work atAstura on the sea (Att. 1) and the 'duo magna cruv'ta'Yila:ta' of the first edition were finished there in mid-May, Att.

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