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Resumen En El artista y la ciudad, el filósofo Eugenio Trías propone una recuperación ontológica de la relación entre eros y poiesis. Plantea esta aproximación como antídoto frente al desencantamiento del mundo que, a su juicio, se deriva del dualismo moderno que se manifiesta en la distinción mecánica entre producción y deseo. Para remediar el problema de la enajenación y la dispersión de la modernidad tardía, Trías retoma las figuras del artista y la ciudad como puntos de referencia que encuentran resonancias paideicas en el símbolo renacentista de la academia platónica. Abstract In The Artist and the City philosopher Eugenio Trías offers an ontological recovery of the relation between eros and poiesis. Such approximation, in his view, provides an antidote to the disenchantment of the world derived from the modern dualistic mechanical disjunction between production and desire. In order to remedy the problem of alienation and dispersion in late modernity, Trías goes back to the figures of the artist and the city as reference points that find paideic resonances in the renaissance symbol of the platonic academy.

This paper will attempt to comment on the tension between politics andphilosophy in the Platonic dialogue Gorgias. The aim is to ground thisdiscussion through an analysis of the character of Callicles who plays therole of sparring partner as it were, testing and challenging Socrates’ positingof philosophy as an end in itself and the best life, and not as a preparationand cultivation for the life of action. The mimetic exchange between Socratesand Callicles stems from their common experience as erotic men. Socrateswill try to elaborate his teaching upon this shared sense of longing. ButCallicles is reluctant. As we will see he grows impatient with Socrates and atsome point refuses to converse, or even listen: his motivation for an activelife animates him, and for this he will need not only courage, but alsophronesis, a political prudence that he aspires to learn from Gorgias, histeacher.