Mostraremos como o Fedro de Platão é um terreno atípico, cujo léxico e alguns conceitos são flutuantes dentro do próprio diálogo, dificultando comparações lexicais com outros diálogos. Nosso ensaio mostrará a flutuação e a inversão de valores desse léxico-conceitual no próprio Fedro, tomando como exemplo quatro termos chave: doxa, razão, Eros e retórica. Consideraremos o caráter metodológico e epistemológico que a comparação lexical entre diálogos implica, tomando o Fedro como exemplo cujo bordado, comparado aos demais diálogos, sempre parece às avessas. (...) Assim, como as experientes bordadeiras, realizaremos avaliação desses termos não apenas pela figura manifesta, mas especialmente pelo seu avesso, cujo entrelaço deve ser tão ou mais belo que o lado externo. Palavras-chave: Fedro; Doxa; Razão; Eros e Retórica. The reverse side of embroidery: doxa, reason, Eros, and rhetoric in the Phaedrus Abstract: We will show how Plato's Phaedrus is an atypical terrain, whose lexicon and some concepts are floating within the dialogue itself, making lexical comparisons with other dialogues difficult. Our essay will show the fluctuation and inversion of values of this lexical-conceptual in Phaedrus himself, taking as an example four key terms: doxa, reason, Eros and rhetoric. We will consider the methodological and epistemological character that the lexical comparison between dialogues implies, taking the Phaedrus as an example whose embroidery, compared to the other dialogues, always seems to be in reverse. Thus, like the experienced embroiderers, we will evaluate these terms not only by the manifest figure, but especially by its reverse side, whose interlacing must be as or more beautiful than the external side. Keywords: Phaedrus; Doxa; Reason; Eros and Rhetoric. El reverso del bordado: doxa, razón, Eros y retórica en el Fedro Resumen: Mostraremos cómo el Fedro de Platón es un terreno atípico, cuyo léxico y algunos conceptos flotan dentro del propio diálogo, dificultando las comparaciones léxicas con otros diálogos. Nuestro ensayo mostrará la fluctuación e inversión de valores de este léxico-conceptual en el propio Fedro, tomando como ejemplo cuatro términos clave: doxa, razón, Eros y retórica. Consideraremos el carácter metodológico y epistemológico que implica la comparación léxica entre diálogos, tomando como ejemplo el Fedro cuyo bordado, frente a los demás diálogos, parece siempre invertido. Así, como los bordadores experimentados, evaluaremos estos términos no sólo por la figura manifiesta, sino especialmente por su reverso, cuyo entrelazamiento debe ser tanto o más bello que el exterior. Palabras clave: Fedro; Doxa; Razón; Eros y Retórica. Data de registro: 02/08/2023 Data de aceite: 20/09/2023. (shrink)

Since antiquity, scholars have observed a structural tension within Plato’s Phaedrus. The dialogue demands order in every linguistic composition, yet it presents itself as a disordered composition. Accordingly, one of the key problems of the Phaedrus is determining which—if any—aspect of the dialogue can supply a unifying thread for the dialogue’s major themes (love, rhetoric, writing, myth, philosophy, etc.). My dissertation argues that “soul-leading” (psuchagōgia)—a rare and ambiguous term used to define the innate power of words—resolves the dialogue’s structural tension. (...) I clarify the conceptual and dramatic features of soul-leading by focusing on the dialogue’s uniquely prevalent use of the semantic network of “leading” and “following.” By continuing to foreground the language and drama of leading and following, I offer a new interpretation of the dialogue as a whole: the Phaedrus is Plato’s articulation of how the soul can be led into communion with reality. Chapter 1 discusses scholarly disputes about the unity of the Phaedrus and proposes that soul-leading adequately satisfies the criteria put forward for what would count as a unifying element. I argue that soul-leading unifies the dialogue both thematically and non-thematically; moreover, soul-leading is a theme capacious enough to account for the other principal contenders for unity put forward. Chapter 2 develops the ambiguous character of soul-leading by examining how the dialogue showcases dangerous forms thereof. Love and language are dangerous when they lead the soul toward goods which can never truly fulfill it. In order to clarify how love and language can mislead the soul, Socrates develops a set of accounts of how the soul is led, both internally and externally, in the three speeches on love. If the soul is to be led into communion with reality (the proper end of soul-leading), it must be led internally by the right part of the soul and externally by the right object of desire. Chapter 3 argues that all souls can, in principle, be harmonized and directed in the way that Chapter 2 requires. I show that Plato’s view of philosophy is neither elitist (i.e., some are intrinsically incapable of philosophy) nor naively essentialist. All can come into communion with reality because all are by nature equipped to do so. While Plato recognizes that there are forces which tend to prohibit one from exercising one’s capability of being rightly led, none of them are intrinsic to human nature. Chapter 4 argues that successful soul-leading require neither the leader nor the follower to be already well-disposed to what’s ultimate in order for the pair to come to a communion with what’s ultimate. Plato’s depiction of soul-leading love shows that love can itself promote the formation needed for both leader and follower to come into contact with reality. Love can do so because it is always already bound up reality in its responsiveness to beauty. Beauty itself calls the lover to itself by shining through the beautiful beloved, who acts as a reminder of transcendent Beauty. The lover mediates this same experience for the beloved. Each comes to desire the other as well as Beauty itself. Chapter 5 argues that the drama of the lovers’ formation mythically depicted in the Palinode (Chapter 4) is written into the drama of the dialogue as a whole. In the relationship between Socrates and Phaedrus, we see an enactment of love’s formative role. Likewise, in the relationship between Phaedrus and Lysias, we see an enactment of the dangerous soul-leading discussed in Chapter 2. My focus on leading and following also allows me to show the thematic significance of the drama’s setting. Chapter 6 articulates the metaphysical conditions under which one can be led into communion with reality. Transcendent Beauty invites us into communion with itself and makes possible our ascent by providing us with divine guides and images which can transport us from our ordinary experiences to the true beings. Beauty accomplishes its work—leading us in a “divine dance” where we follow the gods up to Beauty and back down to each other—through images. When we handle images of reality rightly, they lead our souls into communion with reality. Further, when we have come into communion, we’ll be inspired to be co-workers of Beauty’s soul-leading work. When we articulate reality in language, we create new images that can serve to lead others toward reality. (shrink)

Phaedrus performs an analogy between eros and writing that splits each term in two. The first orientation operates via a logic of ownership: lover of the beloved; writer/reader of text. The second orientation treats eros and writing as inventive activities that catalyze the self-overcoming of the lover and beloved—of the writer/reader and text. This orientation is heralded in Socrates’s palinode, but it has been overlooked by accounts of Socrates’s critique of writing. This article establishes the relationship between the beloved-as-reminder, established (...) in the palinode, and writing-as-reminder, established in the discussion of writing. Thinking about eros and writing in an analogous relationship has significant implications for scholarly literature on Plato’s orientations to writing and knowledge. Specifically, this analogous relationship changes the way the most basic function of writing is configured within the dialogue. It also, importantly, informs the “possessive” and “inventive” approach the text takes toward its performance of pedagogy. (shrink)

L’A. se propose un nouvel examen de l’unité du Phèdre, problème qui mobilise les commentateurs depuis l’Antiquité et a été récemment relancé dans les études françaises et anglo-américaines. De fait, Platon n’a pas explicité la charnière articulant le diptyque formé par le discours sur l’amour comme éros spiritualisé suivi de la réflexion sur la rhétorique du vrai. Au-delà de l’étrangeté formelle, l’enjeu est philosophique : la dualité même du dialogue signale la tentative platonicienne de maintenir à tout prix le travail (...) de la psychagogie, fondement de la recherche amoureuse de la vérité, sur le terrain de la parole politique, jusqu’à se heurter à l’éclatement mutuel des deux ordres. Reste alors, devant nos yeux, l’unité fracturée du métaphysique et du politique. (shrink)

ABSTRACT This essay questions the reading of Plato's Phaedrus according to which writing is understood as a mechanism of objectivity and critical distance. Plato's denomination of writing as a “pharmakon” indicates a deep ambiguity in his definition of writing—an ambiguity embodied in Phaedrus's written speech. The speech triggers both critical analysis and a simultaneous “rhetorical passivity,” whereby upon hearing the speech Socrates is consumed by a manic power. Although Socrates explicitly decries the detrimental consequences of writing in the Myth of (...) Theuth, he nevertheless is overcome by the power of the written speech and driven to a state of logomania. The Phaedrus demonstrates the potential for the written word to release one into a type of passivity, where the subject is no longer an autonomous master but a passive receiver. (shrink)

ABSTRACT Many rhetorical theories of ethos mark their relationship with time by focusing on two temporal poles: the timely ethos and the timeless ethos. But between these two temporal poles, ethos is also durative; it lingers, shifts, accumulates, and dissipates over time. Although scholarship often foregrounds the kairotic and static senses of ethos popularized in Aristotle's Rhetoric, this article highlights how the chronic elements of ethos are no less important to rhetoric. By examining Xenophon's and Plato's representations of the trial (...) of Socrates, this article contends that these competing views about the temporalities of ethos have a storied history that predates Aristotle's writings. This analysis also expands received understandings of Plato's contributions to rhetoric by illuminating how his view of ethos is deeply intertwined with ongoing philosophical practice. The article concludes by arguing that rhetorical studies has much to gain by more closely attending to the cumulative aspects of ethos. (shrink)

A question as old as the study of rhetoric itself, how we might conceive of the ethical basis of persuasion, is as pressing an issue today as ever. One of the earliest critiques of rhetoric comes from Plato's Phaedrus, in which rhetoric is likened to lust, seduction, domination, and even rape in its stance toward the other. Indeed, rhetorical scholarship has remained in contestation with these depictions of rhetoric as akin to coercion and violence.1 Unable to shake Plato's damning criticisms, (...) Plato has become a perpetual interlocutor and sparring partner in the debate regarding rhetorical ethics, leaving rhetorical scholars, as Michael Dues and Mary Brown claim, "boxing Plato's shadow" in attempts to... (shrink)