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J. B. Kennedy argues that Plato's dialogues have an unsuspected musical structure and use symbols to encode Pythagorean doctrines. The followers of Pythagoras famously thought that the cosmos had a hidden musical structure and that wise philosophers would be able to hear this harmony of the spheres. Kennedy shows that Plato gave his dialogues a similar, hidden musical structure. He divided each dialogue into twelve parts and inserted symbols at each twelfth to mark a musical note. These passages are relatively harmonious or dissonant, and so traverse the ups and downs of a known musical scale. Many of Plato's ancient followers insisted that Plato used symbols to conceal his own views within the dialogues, but modern scholars have denied this. Kennedy, an expert in Pythagorean mathematics and music theory, now shows that Plato's dialogues do contain a system of symbols. Scholars in the humanities, without knowledge of obsolete Greek mathematics, would not have been able to detect these musical patterns. This book begins with a concise and accessible introduction to Plato's symbolic schemes and the role of allegory in ancient times. The following chapters then annotate the musical symbols in two of Plato's most popular dialogues, the Symposium and Euthyphro, and show that Plato used the musical scale as an outline for structuring his narratives.
In this volume, a number of scholars of Plato reflect upon their interpretive methods. Topics covered include the use of ancient authorities in interpreting Plato's dialogues, Plato's literary and rhetorical style, his arguments and characters and his use of the dialogue form.
In this supplementary volume, a number of renowned scholars of Plato reflect upon their interpretive methods. Topics covered include the use of ancient authorities in interpreting Plato's dialogues, Plato's literary and rhetorical style, his arguments and characters, and his use of the dialogue form. The collection is not intended as a comprehensive survey of methodological approaches; rather it offers a number of different perspectives and clearly articulated interpretations by leading scholars in the field.
This new way of approaching Plato neither sees Plato's words as doctrines according to which the dialogues are to be interpreted, nor does it reduce Plato's dialogues to dramatic literature. Rather, it seeks to interpret the primary aim of Plato's writings as being influenced primarily by Plato's respect for his teacher, Socrates, and the manner in which Socrates engaged others in philosophical discourse. It places the focus of philosophical investigation of Plato's dialogues on the content of the dialogues themselves, and on the Socratic way of doing philosophy.
Despite Plato's various warnings not to do so, his dialogues have been studied as systematic philosophy since antiquity. In this innovative and controversial reassessment, James Arieti argues that they should be read primarily as works of drama rather than philosophical discourse. Analyses of 18 of the 28 dialogues allow the reader to see them as integrated dramas, with all the ambiguities and uncertainties that literary works contain. As in plays generally, the arguments of particular characters cannot be seen as the opinions of the author, whose views emerge only from examining each work as a whole. This literary reading shows how much of the debate about Plato's meaning has been misplaced. Instead of demonstrating that an argument is fallacious or valid, we need to ask why Plato has the particular character make the argument. Interpreting Plato achieves what no other work on Plato has attempted: to see the philosophical arguments as serving a dramatic purpose.
This book is a rereading of Plato's early dialogues from the point of view of the characters with whom Socrates engages in debate. Socrates' interlocutors are generally acknowledged to play important dialectical and dramatic roles, but no previous book has focused mainly on them. Existing studies are thoroughly dismissive of the interlocutors and reduce them to the status of mere mouthpieces for views which are hopelessly confused or demonstrably false. This book takes interlocutors seriously and treats them as genuine intellectual opponents whose views are often more defensible than commentators have standardly thought. The author's purpose is not to summarise their positions or the arguments of the dialogues in which they appear, much less to produce a series of biographical sketches, but to investigate the phenomenology of philosophical disputation as it manifests itself in the early dialogues.
Examines the role of myth in Plato's Phaedrus, arguing that it leads readers to participate in Plato's dialogues and to engage in self-examination.
Offers an alternative interpretation and defends a radically new view of Plato's method of argument in the early dialogues.
Cotton examines Plato's ideas about education and learning, with a particular focus on the experiences a learner must go through in approaching philosophical understanding.