Against prevailing interpretations, this article contends that Plato's Sophist and Statesman accord the sophist a kind of ‘knowing-how’ (epistêmê). In Soph. 233c10‒d2, the Visitor and Theaetetus agree that the sophist has not truth but a δοξαστικὴ ἐπιστήμη. This phrase cannot mean ‘a seeming knowledge’, for –ικός adjectives formed from verbs express the ability to perform the action denoted by the verb—here, δοξάζω. Although not a first-order, subject-area knowledge, sophistry is a second-order knowledge of how to form and use judgements (doxai). Other acknowledgements of the sophist's epistêmê and the ascription to him of τέχνη, ‘craft/expertise’, confirm that the Visitor's conclusion is not to be dismissed as irony. To critics who argue from the Gorgias and from other works that Plato must consider the Visitor's conclusion an error, the author replies: 1) other dialogues do not control the Visitor dialogues; 2) the Visitor does not validly demonstrate that the sophist lacks all knowledge; 3) by admitting sensibles into Being, the Visitor and Theaetetus allow the objects of epistêmê to include things in the embodied world, even likenesses. Non-philosophers’ epistêmê in the Visitor dialogues is not implicated in the difficulties that critics have raised about epistemology in the so-called Two Worlds dialogues. On this new ontology, even the sophist, if guided by philosophical rulers, can benefit citizens by employing his elenctic expertise as Socrates did, aiding their growth toward virtue.

This article examines the theory of recollection in Plato's Meno and attempts to unravel some long-standing puzzles about it. What are the prenatal objects of the soul's vision? What are the post-natal objects of the soul's recollection? What is innate in the Meno? Why does Socrates (prima facie) suggest that both knowledge and true opinion are innate? The article pays particular attention to the ana- prefix in the verbs aneuriskô, anakineô and analambanô, and suggests that they are used for two distinct stages of recollection: a phenomenological stage of ‘finding again’ or ‘awakening’ our innate content, which Plato calls doxa, and an epistemic stage of ‘getting it back’ as epistêmê. Thinking of the verbs with this ‘back/again’ sense of the ana- prefix (instead of as ‘up’, in the common translation of analambanô as ‘take up’) allows us to understand why Plato would simultaneously imply that our souls had prenatal epistêmê, have post-natal innate true opinion and have the potential to analambanein epistêmê. He is not talking about ‘taking up’ epistêmê that he also calls doxa, but about ‘getting back’ the epistêmê we had prenatally. The article concludes with an examination of what this innate content is, suggesting that it is a type of ‘principle’ and ‘essential’ mental content.

This study examined the nature of inclusion for female and black and minority ethnic (BME) young people in elite-level classical music in England. By contrasting the numbers of female and BME students taking part in elite youth orchestras and music schools with the representation of female and BME compositions in the professional classical music repertoire, the study asked whether female and BME inclusion was limited to participation as performers or whether it included adequate representation in terms of the music performed. The survey analysed 4897 pieces from 681 composers drawn from the 2017/18 concert seasons of 10 major English orchestras, 1 week’s play lists from two classical music radio broadcasters and the programmes from the last four London Promenade seasons. The study found that female and BME students were well represented in elite music education, but they were very poorly represented in the professional repertoire, where 99% of performed pieces were by white composers and 98% by male composers. Applying Bourdieu’s concepts of doxa and illusio, the study concluded that inclusion in classical music in England allowed female and BME musicians to play, but structures in the field maintained a repertoire that continues to be white and male and does not recognise the contributions of female and BME composers. This suggests that inclusion for female and BME musicians is limited and the field continues to promote white and male dominance in its cultural values.

Beyond the esoteric deliberations of Islamic jurists and their exegesis of criminal and private law doctrines, Iranian law lives a life of its own. It is a life of routine practices of judges, court clerks, lawyers and clients, each of whom is striving to turn the law to their own advantage. It is also a life of contested legality, a relentless struggle over the right to determine the law in a juridical field which is infused with strife and hostility. These conflicts are reproduced daily as two competing conceptions of law, and their corresponding perceptions of legality clash in pursuit of justice. The Iranian judiciary’s concept of law, its reconstruction of Islamic jurisprudence and methods of dispensing justice, which on the surface are reminiscent of Max Weber’s “qādi-justice,” collide with the legal profession’s formal rational understanding thereof. However, Iranian judges are not Weberian qādis, and the legal profession is not a homogenous group of attorneys driven by a collective commitment to the rule of law. To understand their conflict, we need to explore the mundane workings of the legal system in the context of the transformation of Iranian society and the unresolved disputes over the direction of its modernity.