PHILOSOPHER ON A CITY STREET
DOI: 10.23951/2312-7899-2019-3-11-26
Visual semiotics studies a variety of fields of human culture and human behavior. In particular, various forms of social self-identification and presentation of a visual nature are directly related to the field of its study. We propose to expand this list to include forms of social clan self-presentation, which is quite obvious, but also the visual component of the intellectual practice. In our case – the ancient. The modern metaphor of the polis as a “city of speeches” is quite applicable to the ancient world. But we must add to it the equally important metaphor of the “city of viewing”. The visual curiosity of the ancient Greek was no less than the auditory curiosity. And philosophers responded to this need. The creators of the most radical visual version of philosophical behavior in ancient Greece were cynics. It was strange not only from the point of view of food austerity and eccentric manners (attributed to the Pythagoreans). It contradicted other visual examples of ancient intellectuals. The provocative behavior of cynics can be called “visual rhetoric”. In contrast to the rhetoric of Aristotle, which was aimed at preserving public order and decency, without which a policy is impossible as “communication for the sake of maximum good”, the cynics rejected public decency. They did it in a clearly visible way. Their rhetoric was illustrative. As one of her tools, they used their own body, which became a vivid expression of freedom and independence from public control. The description of cynical visual arguments allows them to be classified into the following topics. 1. Overcoming myself: Victory over myself means deliverance from the power of a social type with which a person identifies himself. In order to cope with the mandatory power of symbolic communications, it is necessary to train in oneself the “power of Socrates”: the ability to pay no attention to anything other than virtue. The cynic asceticism was intended to prevent the transformation of the satisfaction of needs into a subject of passionate lust. This was expressed in their economical minimization and in a clear demonstration of how to get rid of lust. Visual clarity freed from the fear of obsceneness. 2. Argumentation: Cynics use elements of everyday food culture as cheese, beans, and fish as illustrative tools for refuting. They actively exploit the metaphorical connotations of these objects in ancient folklore and literature. 3. Counter-Movement: Cynics visually demonstrate that they are “swimming against the stream”. They are convinced that this is the only correct way of behavior. 4. Search for a person: The famous anecdote about «the Lamp of Diogenes » testifies to the famous Heraclites’ «argument from a dream». 5. Attitude towards death: The attitude of Diogenes to his own death shows that in this case “visual decorum” must be rejected too. A dead body is more worthy of a “barbarous” (most likely Zoroastrian) burial, but not a Hellenic one. Cynics’ visual arguments were related to Antisthenes’s teaching of the correct name, which should have a one-to-one correspondence with the subject. The paradoxical behavior of the cynics was aimed at changing the focus of our view on the real. It can be said that cynic behavior is part of their “name correction” strategy.
Keywords: Visual anthropology and semiotics, cynicism, Antisthenes, Diogenes the Cynic, chreia
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Issue: 3, 2019
Series of issue: Issue 3
Rubric: ARTICLES
Pages: 11 — 26
Downloads: 1220