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This collection of papers is devoted to the significance of particular formal and literary aspects of the Platonic dialogues.
The Symposium is one of Plato’s most accessible dialogues, an engrossing historical document as well as an entertaining literary masterpiece. By uncovering the structural design of the dialogue, Plato’s Dialectic at Play aims at revealing a Plato for whom the dialogical form was not merely ornamentation or philosophical methodology but the essence of philosophical exploration. His dialectic is not only argument; it is also play. Careful analysis of each layer of the text leads cumulatively to a picture of the dialogue’s underlying structure, related to both argument and myth, and shows that a dynamic link exists between Diotima’s higher mysteries and the organization of the dialogue as a whole. On this basis the authors argue that the Symposium, with its positive theory of art contained in the ascent to the Beautiful, may be viewed as a companion piece to the Republic, with its negative critique of the role of art in the context of the Good. Following Nietzsche’s suggestion and applying criteria developed by Mikhail Bakhtin, they further argue for seeing the Symposium as the first novel. The book concludes with a comprehensive reevaluation of the significance of the Symposium and its place in Plato’s thought generally, touching on major issues in Platonic scholarship: the nature of art, the body-soul connection, the problem of identity, the relationship between mythos and logos, Platonic love, and the question of authorial writing and the vanishing signature of the absent Plato himself.
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, characterisation, language and imagery. Among the dialogues considered in these interrelated essays are some of Plato's most admired and influential works, including the Gorgias, the Symposium, the Republic and the 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. Rutherford also includes detailed discussion of 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. The combination of sympathetic literary criticism with exact historical scholarship gives The Art of Plato its special qualities.
In this book, W. Thomas Schmid demonstrates that the Charmides -- a platonic dialogue seldom referenced in contemporary studies -- is a microcosm of Socratic philosophy. He explores the treatment of the Socratic dialectic, the relation between it and the Socratic notion of self-knowledge, the Socratic ideal of rationality and self-restraint, the norm of holistic and moral health, the interpretation of the soul as the rational self, the Socratic attitude toward democracy, and the connections between dialectic autonomy and moral community. Schmid argues that the depiction and account of sophrosune -- human moderation -- in the Charmides adumbrates Plato's vision of the life of critical reason, and of its uneasy relation to political life in the ancient city.
This is the first collection of original essays entirely devoted to a detailed study of the Pyrrhonian tradition. The twelve contributions collected in the present volume combine to offer a historical and systematic analysis of the form of skepticism known as “Pyrrhonism”. They discuss whether the Pyrrhonist is an ethically engaged agent, whether he can claim to search for truth, and other thorny questions concerning ancient Pyrrhonism; explore its influence on certain modern thinkers such as Pierre Bayle and David Hume; and examine Pyrrhonian skepticism in relation to contemporary analytic philosophy.
In Plato's Apology, Socrates says he spent his life examining and questioning people on how best to live, while avowing that he himself knows nothing important. Elsewhere, however, for example in Plato's Republic, Plato's Socrates presents radical and grandiose theses. In this book Sandra Peterson offers a hypothesis which explains the puzzle of Socrates' two contrasting manners. She argues that the apparently confident doctrinal Socrates is in fact conducting the first step of an examination: by eliciting his interlocutors' reactions, his apparently doctrinal lectures reveal what his interlocutors believe is the best way to live. She tests her hypothesis by close reading of passages in the Theaetetus, Republic and Phaedo. Her provocative conclusion, that there is a single Socrates whose conception and practice of philosophy remain the same throughout the dialogues, will be of interest to a wide range of readers in ancient philosophy and classics.
This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of questions surrounding Greek 'character' words (especially ethos), including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relationship to his 'dramatic' hero.
A 2023 Choice Reviews Outstanding Academic Title Socrates famously claimed that he knew nothing, and that wisdom consisted in awareness of one’s ignorance. In Ignorance, Irony and Knowledge in Plato, Kevin Crotty makes the case for the centrality and fruitfulness of Socratic ignorance throughout Plato’s philosophical career. Knowing that you don’t know is more than a maxim of intellectual humility; Plato shows how it lies at the basis of all the virtues, and inspires dialogue, the best and most characteristic activity of the philosophical life. Far from being simply a lack or deficit, ignorance is a necessary constituent of genuine knowledge. Crotty explores the intricate ironies involved in the paradoxical relationship of ignorance and knowledge. He argues, further, that Plato never abandoned the historical Socrates to pursue his own philosophical agenda. Rather, his philosophical career can be largely understood as a progressive deepening of his appreciation of Socratic ignorance. Crotty presents Plato as a forerunner of the scholarly interest in ignorance that has gathered force in a wide variety of disciplines over the last 20 years.
In this work, Muhsin Mahdi—widely regarded as the preeminent scholar of Islamic political thought—distills more than four decades of research to offer an authoritative analysis of the work of Alfarabi, the founder of Islamic political philosophy. Mahdi, who also brought to light writings of Alfarabi that had long been presumed lost or were not even known, presents this great thinker as his contemporaries would have seen him: as a philosopher who sought to lay the foundations for a new understanding of revealed religion and its relation to the tradition of political philosophy. Beginning with a survey of Islamic philosophy and a discussion of its historical background, Mahdi considers the interrelated spheres of philosophy, political thought, theology, and jurisprudence of the time. He then turns to Alfarabi's concept of "the virtuous city," and concludes with an in-depth analysis of the trilogy, Philosophy of Plato and Aristotle. This philosophical engagement with the writings of and about Alfarabi will be essential reading for anyone interested in medieval political philosophy.
What can we learn about the trial of Socrates from Plato's dialogues? Most scholars say we can learn a lot from the Apology, but not from the rest. Plato's Trial of Athens rejects this assumption and argues that Plato used several of his dialogues to turn the tables on Socrates' accusers: they blamed Socrates for something the city had done to itself. Plato wanted to set the record straight and save his city from repeating her worst mistakes of the 5th century. Plato's Trial of Athens addresses challenging questions about the historicity of Plato's dialogues, and it traces Plato's critique of Athenian public life and polis culture from the trial in 399 up through the Laws and the Atlantis myth in the Critias and Timaeus. In the end, Ralkowski shows that what began as a bitter response to the unjust, politically-charged trial of Socrates, evolved into a pessimistic reflection on the role of philosophy in a democratic society, a theory about Athens' 5th century decline, and cautionary tale about the corrupting influences of naval imperialism.