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Plato often rejects hedonism, but in the Protagoras, Plato's Socrates seems to endorse hedonism. In this book, J. Clerk Shaw removes this apparent tension by arguing that the Protagoras as a whole actually reflects Plato's anti-hedonism. He shows that Plato places hedonism at the core of a complex of popular mistakes about value and especially about virtue: that injustice can be prudent, that wisdom is weak, that courage is the capacity to persevere through fear, and that virtue cannot be taught. The masses reproduce this system of values through shame and fear of punishment. The Protagoras and other dialogues depict sophists and orators who have internalized popular morality through shame, but who are also ashamed to state their views openly. Shaw's reading not only reconciles the Protagoras with Plato's other dialogues, but harmonizes it with them and even illuminates Plato's wider anti-hedonism

In her 2010 music video "Window Seat," Black singer Erykah Badu claims the space of John F. Kennedy's iconic presidency by walking the route taken by his motorcade the day of his assassination and stripping naked. Badu and other recent Black female artists perform what this article calls a "politics of replacement," using visual media to restage historical moments and replace iconic white figures with their Black bodies in a disruptive manner. The politics of replacement in "Window Seat" unsettles official narratives of a linear progress from racism and inequality to post-racism and equality by returning to the visual memory of Kennedy's assassination that has been folded into a larger narrative of civil rights. Despite the supposedly post-racial nature of US society, governmental and social strictures continue to police the Black female body as sexual, maternal, deviant, and/or queer. Badu's fine for disorderly conduct by the city of Dallas serves as a concrete example of the ongoing structural limitations placed on African American women. This article understands "Window Seat" as part of an ongoing tradition of Black feminist intellectual work undertaken outside of the academy through cultural production.

In the Gorgias, Socrates argues that just punishment, though painful, benefits the unjust person by removing injustice from her soul. This paper argues that Socrates thinks the true judge (i) will never use corporal punishment, because such procedures do not remove injustice from the soul; (ii) will use refutations and rebukes as punishments that reveal and focus attention on psychological disorder (= injustice); and (iii) will use confiscation, exile, and death to remove external goods that facilitate unjust action.