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Orality versus writing is a vexed issue in Plato, but is it necessarily an opposition? This book places Plato’s work in the realm of mimesis and argues that we do not necessarily have to see this issue as demonstrating a straightforward opposition.
Most philosophy has rejected the theater, denouncing it as a place of illusion or moral decay; the theater in turn has rejected philosophy, insisting that drama deals in actions, not ideas. Challenging both views, The Drama of Ideas shows that theater and philosophy have been crucially intertwined from the start. Plato is the presiding genius of this alternative history. The Drama of Ideas presents Plato not only as a theorist of drama, but also as a dramatist himself, one who developed a dialogue-based dramaturgy that differs markedly from the standard, Aristotelian view of theater. Puchner discovers scores of dramatic adaptations of Platonic dialogues, the most immediate proof of Plato's hitherto unrecognized influence on theater history. Drawing on these adaptations, Puchner shows that Plato was central to modern drama as well, with figures such as Wilde, Shaw, Pirandello, Brecht, and Stoppard using Plato to create a new drama of ideas. Puchner then considers complementary developments in philosophy, offering a theatrical history of philosophy that includes Kierkegaard, Nietzsche, Burke, Sartre, Camus, and Deleuze. These philosophers proceed with constant reference to theater, using theatrical terms, concepts, and even dramatic techniques in their writings. The Drama of Ideas mobilizes this double history of philosophical theater and theatrical philosophy to subject current habits of thought to critical scrutiny. In dialogue with contemporary thinkers such as Martha Nussbaum, Iris Murdoch, and Alain Badiou, Puchner formulates the contours of a "dramatic Platonism." This new Platonism does not seek to return to an idealist theory of forms, but it does point beyond the reigning philosophies of the body, of materialism and of cultural relativism.
In The Gatekeeper: Narrative Voice in Plato’s Dialogues Margalit Finkelberg offers the first narratological analysis of all of Plato’s transmitted dialogues. The book explores the dialogues as works of literary fiction, giving special emphasis to the issue of narrative perspective.
Plato and the Metaphysical Feminine offers a new interpretation of the role of the female and the feminine in Plato's political dialogues—the Republic, Laws, and Timaeus—informed by Deleuze's film theory and Irigaray's psychoanalytic feminism. Irene Han reads Plato against the grain in order to close the gap between the vitalists and Plato, instead of magnifying their differences. Han explores the ambivalence that the vitalist tradition, Irigaray, and Derrida have towards Platonism. The application of Deleuzian and Irigarayan concepts to the ancient texts produces a new reading of Plato, focusing on the centrality and importance of motion, change, sensuality, and becoming to Platonic philosophy and, thereby, reinterprets Platonic philosophy in the direction of Heraclitus rather than Parmenides: as feminist rather than masculinist, and as mimetic. It therefore prioritizes Heraclitean principles of movement and flux over Form, the feminine over masculine, and materiality, feeling, or sensation over abstraction and universal essence. Han's exploration illustrates how, in Plato's thought, the feminine maps itself onto the plane of phenomena—a plane associated with vitalist themes such as motion, tactility, and change (metabolē). Platonic metaphysics is recontextualized by illustrating how Being expresses itself through processes of (feminine) becoming. With this reformulation, the resulting account of Platonic Being destabilizes any purported Platonic dualism.
Plato's frontal attack on poetry has always been a problem for sympathetic students, who have often minimized or avoided it. Beginning with the premise that the attack must be taken seriously, Eric Havelock shows that Plato's hostility is explained by the continued domination of the poetic tradition in contemporary Greek thought. The reason for the dominance of this tradition was technological. In a nonliterate culture, stored experience necessary to cultural stability had to be preserved as poetry in order to be memorized. Plato attacks poets, particularly Homer, as the sole source of Greek moral and technical instruction-Mr. Havelock shows how the Iliad acted as an oral encyclopedia. Under the label of mimesis, Plato condemns the poetic process of emotional identification and the necessity of presenting content as a series of specific images in a continued narrative. The second part of the book discusses the Platonic Forms as an aspect of an increasingly rational culture. Literate Greece demanded, instead of poetic discourse, a vocabulary and a sentence structure both abstract and explicit in which experience could be described normatively and analytically: in short a language of ethics and science.