Contemporary platonism has been conditioned in large part by two dogmas. One is the belief in a fundamental cleavage between intelligible but invisible Platonic forms that are real and eternal, and perceptible objects whose confinement to spacetime constitutes an inferior existence and about which knowledge is impossible. The other dogma involves a kind of reductionism: the belief that Plato’s unhypothetical first principle of the all is identical to the form of the good. Both dogmas, I argue, are ill-founded.

There has been a recent surge of interest in ancient accounts of free will. It is surprising, then, that there have been virtually no attempts to discuss whether Plato had such an account. Those who have made an attempt quickly deny that such an account is present in the dialogues. I shall argue that if we draw a distinction between two notions of free will, it is plausible that some account of free will is, in fact, present in the dialogues, (...) the Republic in particular. This is the first in depth search into the question and I demonstrate that the defender of a Platonic free will thesis has more resources than she first appears to. It also has the benefit of giving us an obvious source material for Augustine's discussion. (shrink)

Nowadays, although our aesthetic ideas are based on modern theories and perspectives that have pervaded the art, the root of western tradition of art dates back to Greek and Roman art tradition. Theory of form in art tries to emphasize the materiality of artistic object, though in later theories, it has been more flexible and proposes issues such as content and function, as well as attributing concepts such as composition, color, technique etc. to the artwork. Plato by proposing mimesis theory (...) and expanding its scope considered a pattern and framework for attitudes and thoughts in static arts such as painting, literature and dynamic performance arts such as drama and music, and managed to regulate and organize them. For Plato, in this process, ēthos functions as a determinant factor. This present study is an attempt to discuss this question with descriptive-analytical approach: “will artistic form in Plato's theories be important after proposing the representational attitude toward art?” The results demonstrated that Plato's samples of beauty, in addition to descriptions and implications about the features of artistic form in some conversations can be considered equal to artistic form and due to the reflective theory in its revolution process, artistic form development into transcendence ethical form. (shrink)

This paper suggests that history, both personal and political, plays a crucial role in the manifestation (or concealment) of the Good in Plato’s Republic. After an introduction on how to read Plato’s dialogues vis-a-vis the problem of history, this article offers a close reading of Books I and VIII of the Republic.

Plato's Republic critiques Athenian democracy as practised during the Peloponnesian War years. The diseased city Socrates attempts to purge mirrors Athens in crucial particulars, and his proposals should be evaluated as counter-weights to existing institutions and practices, not as absolutes to be instantiated. Plato's assessment of the Athenian polity incorporates two strategies -- one rhetorical, the other argumentative -- both of which I address. Failure to consider Athens a catalyst for Socrates' arguments has led to the misconception that Plato was (...) dogmatically committed to a single political doctrine for all and for all time. (shrink)

This paper argues for the presence in Plato’s work of a conception of thinking central to which is what I call the Transparency View. According to this view, in order for a subject to think of a given object, the subject must represent that object just as it is, without inaccuracy or distortion. I examine the ways in which this conception influences Plato’s epistemology and metaphysics and explore some ramifications for contemporary views about mental content.