The enduring fascination of Plato's dialogues rests not only on the dazzling range of his arguments and opinions, but also on the extraordinary richness of his literary style. The great Greek philosopher captures the imagination and stimulates the curiosity of his readers through his expert use of the techniques devised by the rhetoricians and the poets of his time: Plato, the critic of art and poetry, shows himself a consummate artist. This book is not a study of Plato's philosophy, but a contribution to the literary interpretation of the dialogues, through analysis of their formal structure, characterization, language, and imagery. Among the dialogues considered in these interrelated essays are some of Plato's most admired and influential works, including Gorgias, the Symposium, the Republic and Phaedrus. Special attention is paid to the personality of Socrates, Plato's remarkable mentor, and to his interaction with the other characters in the dialogues. The author also discusses particular problems such as the sources for our knowledge of Socrates, the origins of the dialogue form, Plato's use of myth, and the "totalitarianism" of the Republic.This combination of sympathetic literary criticism and exact historical scholarship makes The Art of Plato a valuable contribution to the study of one of the greatest of all Greek writers.
Plato's dialogues are usually understood as simple examples of philosophy in action. In this book Professor Rowe treats them rather as literary-philosophical artefacts, shaped by Plato's desire to persuade his readers to exchange their view of life and the universe for a different view which, from their present perspective, they will barely begin to comprehend. What emerges is a radically new Plato: a Socratic throughout, who even in the late dialogues is still essentially the Plato (and the Socrates) of the Apology and the so-called 'Socratic' dialogues. This book aims to understand Plato both as a philosopher and as a writer, on the assumption that neither of these aspects of the dialogues can be understood without the other. The argument of the book is closely based in Plato's text, but should be accessible to any serious reader of Plato, whether professional philosopher, classicist, or student.
One of Plato's most controversial dialogues, "Hippias Minor" details Socrates' claims that there is no difference between a person who tells the truth and one who lies, and that the good man is the one who willingly makes mistakes and does wrong. But what if Socrates wasn't merely championing the act of lying--as the dialogue has been traditionally interpreted--but, rather, advocating the power of the creative act? In this new translation by Sarah Ruden, "Hippias Minor" is rendered anew as a provocative dialogue about how art is a form of wrongdoing. The accompanying introduction by artist Paul Chan and essay by classicist Richard Fletcher argue that an understanding of the dialogue makes life more ethical by paradoxically teaching one to be more cunning.
In this wide-ranging, brilliantly written account, Nehamas provides an incisive reevaluation of Socrates' place in the Western philosophical tradition and shows the importance of Socrates for Montaigne, Nietzsche, and Foucault.
Collection of essays bringing diverse approaches to Plato into conversation in the spirit of its honorand, Christopher Rowe.
This anthology is remarkable not only for the selections themselves, among which the Schelling and the Heidegger essays were translated especially for this volume, but also for the editors' general introduction and the introductory essays for each selection, which make this volume an invaluable aid to the study of the powerful, recurrent ideas concerning art, beauty, critical method, and the nature of representation. Because this collection makes clear the ways in which the philosophy of art relates to and is part of general philosophical positions, it will be an essential sourcebook to students of philosophy, art history, and literary criticism.
The leading scholars represented in Politics, Philosophy, Writing examine six key Platonic dialogues and the most important of the epistles, moving from Plato's most public or political writings to his most philosophical. The collection is intended to demonstrate the unity of Plato's concerns, the literary quality of his writing, and the integral relation of form and content in his work. Taken together, these essays show the consistency of Plato's understanding of the political art, the art of writing, and the philosophical life.
This book explores Plato's views on what an 'art of argument' should look like, investigating the relationship between psychology and rhetoric.
This unique collection of essays focuses on various aspects of Plato's Philosophy of Art, not only in The Republic , but in the Phaedrus, Symposium, Laws and related dialogues. The range of issues addressed includes the contest between philosophy and poetry, the moral status of music, the love of beauty, censorship, motivated emotions.
Phaedrus is widely recognized as one of Plato's most profound and beautiful works. It takes the form of a dialogue between Socrates and Phaedrus and its ostensible subject is love, especially homoerotic love. This new translation is accompanied by an introduction, further reading, and full notes on the text and translation that discuss the structure of the dialogue and elucidate issues that might puzzle the modern reader.
This is a pre-1923 historical reproduction that was curated for quality. Quality assurance was conducted on each of these books in an attempt to remove books with imperfections introduced by the digitization process. Though we have made best efforts - the books may have occasional errors that do not impede the reading experience. We believe this work is culturally important and have elected to bring the book back into print as part of our continuing commitment to the preservation of printed works worldwide.
Excerpt from The Art of Transition in Plato: A Dissertation The method followed in the present paper is one of compromise. Without attempting an exhaustive study of the process of Platonic dialectic, of Plato's methods of sentence connection, or his use of particles, it is the purpose of this discussion to present from the Platonic dialogues adequate material for the illustration of all these methods of approach to the study of transitions. The stylistic basis of arrangement has not been adopted, but changes in transitional method due to differences in style have been noted. The first chapter contains analyses of a number of representative dialogues. In these analyses only so much of the philosophic content of the argument is given as is necessary to make intelligible the outline of the logical and artistic framework of the dialogue. The chief emphasis is placed on the indication and description of the main points of transition in the argument. The two succeeding chapters are devoted to a more minute study of Plato's methods of transition. The second chapter deals with his usage of conventional transitional formulas and includes a brief, incomplete account of Platonic transitional particles. Under the heading 'plato's literary art of transition' more unusual and artistic means of connection have been discussed. Little or no attempt at formal classification has been made. Similar transitional devices are grouped together for purposes of description. The fre quent union of several transitional elements in one passage and the difficulty of fixing hard and fast boundaries between different types of transition make any rigid classification impossible as well as useless. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
This book provides a fresh and comprehensive account of the most frequently read work of Greek philosophy.
In his best-selling book You Must Change Your Life, Peter Sloterdijk argued exercise and practice were crucial to the human condition. In The Art of Philosophy, he extends this critique to academic science and scholarship, casting the training processes of academic study as key to the production of sophisticated thought. Infused with humor and provocative insight, The Art of Philosophy further integrates philosophy and human existence, richly detailing the foundations of this relationship and its transformative role in making the postmodern self. Sloterdijk begins with Plato's description of Socrates, whose internal monologues were so absorbing they often rooted the philosopher in place. The original academy, Sloterdijk argues, taught scholars to lose themselves in thought, and today's universities continue this tradition by offering scope for Plato's "accommodations for absences." By training scholars to practice thinking as an occupation transcending daily time and space, universities create the environment in which thought makes wisdom possible. Traversing the history of asceticism, the concept of suspended animation, and the theory of the neutral observer, Sloterdijk traces the evolution of philosophical practice from ancient times to today, showing how scholars can remain true to the tradition of "the examined life" even when the temporal dimension no longer corresponds to the eternal. Building on the work of Husserl, Heidegger, Nietzsche, Arendt, and other practitioners of the life of theory, Sloterdijk launches a posthumanist defense of philosophical inquiry and its everyday, therapeutic value.
How did rhetoric begin and what was it before it was called “rhetoric”? Must art have a name to be considered art? What is the difference between eloquence and rhetoric? And what were the differences among poets, philosophers, sophists, and rhetoricians before Plato emphasized—or perhaps invented—their differences? In Logos without Rhetoric: The Arts of Language before Plato, Robin Reames attempts to intervene in these and other questions by examining the status of rhetorical theory in texts that predate Plato’s coining of the term “rhetoric” (c. 380 B.C.E.). From Homer and Hesiod to Parmenides and Heraclitus to Gorgias, Theodorus, and Isocrates, the case studies contained here examine the status of the discipline of rhetoric prior to and therefore in the absence of the influence of Plato and Aristotle’s full-fledged development of rhetorical theory in the fourth century B.C.E. The essays in this volume make a case for a porous boundary between theory and practice and promote skepticism about anachronistic distinctions between myth and reason and between philosophy and rhetoric in the historiography of rhetoric’s beginning. The result is an enlarged understanding of the rhetorical content of pre-fourth-century Greek texts.
This book provides an introduction to Plato’s work that gives a clear statement of what Plato has to say about the problems of thought and life. In particular, it tells the reader just what Plato says, and makes no attempt to force a system on the Platonic text or to trim Plato’s works to suit contemporary philosophical tastes. The author also gives an account that has historical fidelity - we cannot really understand the Republic or the Gorgias if we forget that the Athens of the conversations is meant to be the Athens of Nicias or Cleon, not the very different Athens of Plato’s own manhood. To understand Plato’s thought we must see it in the right historical perspective.
The eminent philosopher and classical scholar Alexander Nehamas presents here a collection of his most important essays on Plato and Socrates. The papers are unified in theme by the idea that Plato's central philosophical concern in metaphysics, ethics, and aesthetics was to distinguish the authentic from the fake, the original from its imitations. In approach, the collection displays Nehamas's characteristic combination of analytical rigor and sensitivity to the literary form and dramatic effect of Plato's work. Together, the papers represent Nehamas's distinct and original contributions to scholarship on Plato and Socrates and serve as a comprehensive introduction to the thought of these two philosophers. In the book's opening section, Nehamas discusses Plato's representation of Socrates as a model of authentic human goodness, showing that Plato's Socrates is a more skeptical, troubling, and individualistic thinker than is usually supposed. The papers in the second section form a sustained defense of a new and important understanding of Plato's theory of the forms and the evolution of that theory in Plato's later writings. The third section examines Plato's contention that popular entertainment--by which he meant Greek epic and tragic poetry--misleads its audience into a debased life, an argument Nehamas relates to modern anxieties about television and other forms of popular culture. The collection also includes a discussion of Plato's use of the dialogue form in his representation of Socrates and carefully examines the combination of literary and philosophical elements in his work. Nehamas argues in the book that Plato's specific judgments of what is authentic are often flawed, but that his idea of authenticity as the mark of truth, beauty, and goodness is stronger than many modern scholars have assumed. In drawing together Nehamas's many influential ideas about Plato and Socrates, Virtues of Authenticity is a major contribution to the study of ancient Greek philosophy.
Plato’s dialogues show Socrates at different ages, beginning when he was about nineteen and already deeply immersed in philosophy and ending with his execution five decades later. By presenting his model philosopher across a fifty-year span of his life, Plato leads his readers to wonder: does that time period correspond to the development of Socrates’ thought? In this magisterial investigation of the evolution of Socrates’ philosophy, Laurence Lampert answers in the affirmative. The chronological route that Plato maps for us, Lampert argues, reveals the enduring record of philosophy as it gradually took the form that came to dominate the life of the mind in the West. The reader accompanies Socrates as he breaks with the century-old tradition of philosophy, turns to his own path, gradually enters into a deeper understanding of nature and human nature, and discovers the successful way to transmit his wisdom to the wider world. Focusing on the final and most prominent step in that process and offering detailed textual analysis of Plato’s Protagoras, Charmides, and Republic, How Philosophy Became Socratic charts Socrates’ gradual discovery of a proper politics to shelter and advance philosophy.

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