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  1. (1 other version)Heidegger on Human Finitude: Beginning at the End.Oren Magid - 2017 - European Journal of Philosophy 25 (3):657-676.
    Interpreters generally understand Heidegger's notion of finitude in one of two ways: as our mortality – that, in the end, we are certain to die; or the susceptibility of our self- and world-understanding to collapse – the fragility and vulnerability of human sense-making. In this paper, I put forward an alternative account of what Heidegger means by ‘finitude’: human self- and world-understanding is non-transparently grounded in a ‘final end.’ Our self- and world-understanding, that is, begins at the end, and authenticity (...)
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  • Plato on the Desire for the Good.Rachel Barney - 2010 - In Sergio Tenenbaum (ed.), Desire, Practical Reason, and the Good. , US: Oxford University Press. pp. 34--64.
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  • The Ethical Discussion of Protection ( Boētheia) in Plato's Gorgias.Leo Catana - 2018 - Classical Quarterly 68 (2):425-441.
    Over the last decades we have seen an increased interest in forensic rhetoric in Plato's dialogues, notably in relation to hisApology. However, little interest has been paid to this strain of rhetoric in relation to theGorgias. In this article I focus on one notion, βοήθεια, as it was discussed in Plato'sGorgias. This notion had a wide currency in forensic rhetoric in classical Athens.
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  • Plato on the Attribution of Conative Attitudes.Rachana Kamtekar - 2006 - Archiv für Geschichte der Philosophie 88 (2):127-162.
    Plato’s Socrates famously claims that we want (bou9lesqai) the good, rather than what we think good (Gorgias 468bd). My paper seeks to answer some basic questions about this well-known but little-understood claim: what does the claim mean, and what is its philosophical motivation and significance? How does the claim relate to Socrates’ claim that we desire (e7piqumei=n)1 things that we think are good, which..
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  • Rhetoric beyond Arguments: Thinking about the Role of Fictional Audiences in Plato’s Gorgias.Dora Suarez - 2020 - Elenchos: Rivista di Studi Sul Pensiero Antico 41 (2):217-243.
    In this piece, I propose a reading of Plato’s Gorgias that pays special attention to the role that the fictional audience plays in the unfolding of the dialogue. To this end, I use some of the insights that Chaïm Perelman and Lucie Olbrechts–Tyteca conveyed in their seminal work, The New Rhetoric: A Treatise on Argumentation in order to argue that thinking about the way in which Socrates’ arguments are shaped by the different audiences that Gorgias, Polus, and Callicles aim to (...)
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