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Switch to: References
Citations of:
Plato on imitation and poetry in republic 10
In J. M. E. Moravcsik & Philip Temko (eds.), Plato on beauty, wisdom, and the arts. Totowa, N.J.: Rowman & Littlefield (1982)
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This paper reads Republic 583b-608b as a single, continuous line of argument. First, Socrates distinguishes real from apparent pleasure and argues that justice is more pleasant than injustice. Next, he describes how pleasures nourish the soul. This line of argument continues into the second discussion of poetry: tragic pleasures are mixed pleasures in the soul that seem greater than they are; indulging them nourishes appetite and corrupts the soul. The paper argues that Plato has a novel account of the ‘paradox (...) |
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<P>While there are many books on the romantics, and many books on Heidegger, there has been no book exploring the connection between the two. Pol Vandevelde’s new study forges this important link. </P> <P>Vandevelde begins by analyzing two models that have addressed the interaction between literature and philosophy: early German romanticism (especially Schlegel and Novalis), and Heidegger’s work with poetry in the 1930s. Both models offer an alternative to the paradigm of mimesis, as exemplified by Aristotle’s and Plato’s discussion of (...) |
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Many philosophers today approach important psychological phenomena, such as weakness of the will and moral motivation, using a broadly Humean distinction between beliefs, which aim to represent the world, and desires, which aim to change the world. On this picture, desires provide the ends or goals of action, while beliefs simply tell us how to achieve those ends. In the Republic, Socrates attempts to explain the phenomena using a different distinction: he argues that the human soul or psyche consists in (...) |
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Plato links pleasure with illusion, and this link explains his rejection of the view that all desires are rational desires for the good. The Protagoras and Gorgias show connections between pleasure and illusion; the Republic develops these into a psychological theory. One part of the soul is not only prone to illusions, but also incapable of the kind of reasoning that can dispel them. Pleasure appears good; therefore this part of the soul (the appetitive part) desires pleasures qua good but (...) |
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Porphyry'sLife of Plotinusis the earliest extant memoir of a philosopher by his pupil. Historians of philosophy have embraced it as a key to the intellectual development of Plotinus, while historians of the third century have found it an invaluable supplement to the fragmentary records of this era. Yet few have cared to read it as an original work of literature, or even as the mature work of a scholar and philosopher who for centuries eclipsed his master in influence, if not (...) |
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It is a notion commonly acknowledged that in his work Timaeus the Athenian philosopher Plato (_c_. 429–347 BC) laid down an early chemical theory of the creation, structure and phenomena of the universe. There is much truth in this acknowledgement because Plato’s “chemistry” gives a description of the material world in mathematical terms, an approach that marks an outstanding advancement over cosmologic doctrines put forward by his predecessors, and which was very influential on western culture for many centuries. In the (...) |
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Throughout much of the critique of poetry in Republic X, Socrates exploits a parallel between painting and poetry. I argue there are two distinct methods at work here, the ‘similarity’ and ‘heuristic’ methods. The first uses painting to discover the general definition of mimesis, which is then swiftly applied to poetry. The second describes certain features of painting before using independent arguments to show that these also apply to poetry. That Socrates sometimes uses the parallel in this heuristic way is (...) |
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I am interested in examining the reasoning of Plato’s extremely condensed argument in Republic X for the uniqueness of Forms. I will explore the metaphysical principles and assumptions that are supplied in the text, or need to be presupposed in order to understand the reasoning in the argument. Further, I will reflect on the truth and philosophical significance of its conclusion. |
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Porphyry'sLife of Plotinusis the earliest extant memoir of a philosopher by his pupil. Historians of philosophy have embraced it as a key to the intellectual development of Plotinus, while historians of the third century have found it an invaluable supplement to the fragmentary records of this era. Yet few have cared to read it as an original work of literature, or even as the mature work of a scholar and philosopher who for centuries eclipsed his master in influence, if not (...) |
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Images share a common feature with all phenomena of imagination, since they make us aware of what is not present or what is fictional and not existent at all. From this perspective, the philosophical approach of Kendall Lewis Walton—born in 1939 and active since the 1960s at the University of Michigan—is perhaps one of the most notable contributions to image theory. Walton is an authoritative figure within the tradition of analytical aesthetics. His contributions have had a considerable influence on a (...) |
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El artículo ofrece una interpretación de la controversial y aparentemente inaceptable caracterización de la poesía desarrollada por Platón en la República. Los objetivos principales de la discusión son: aclarar las motivaciones de dicha caracterización, desentrañar los múltiples y discontinuos argumentos que la componen, y evaluar críticamente sus aciertos y sus límites. Se concluye que no todas las posturas que adopta Platón frente a la poesía son insostenibles, y que cuando sí lo son las razones para ello resultan particularmente esclarecedoras. The (...) |
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Porphyry's Life of Plotinus is the earliest extant memoir of a philosopher by his pupil. Historians of philosophy have embraced it as a key to the intellectual development of Plotinus, while historians of the third century have found it an invaluable supplement to the fragmentary records of this era. Yet few have cared to read it as an original work of literature, or even as the mature work of a scholar and philosopher who for centuries eclipsed his master in influence, (...) |
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A passage in Plato’s Laws (719c) offers a fresh look at Plato’s theory of poetry and art. Only here does Plato call poetry both mimêsis “imitation, representation,” and the product of enthousiasmos “inspiration, possession.” The Republic and Sophist examine poetic imitation; the Ion and Phaedrus (with passages in Apology and Meno) develop a theory of artistic inspiration; but Plato does not confront the two descriptions together outside this paragraph. After all, mimêsis fuels an attack on poetry, while enthousiasmos is sometimes (...) |
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The aim of the present paper is to determine the Platonic treatment of image. For this purpose, the most relevant sections of four dialogues Republic, Sophist, Cratyilus and Phaedo are analyzed. Textual examination has contributed to detect a distinction that operates in Platonic treatment, namely the difference between 'appearance' and 'image'. While the former is an ontologically loss-making illusion, the latter assumes the role of sensible instantiation of the ideal-intelligible realities. Based on this second kind, Plato has conceived the possibility (...) |
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En este artículo me interesa sostener que en la República la posibilidad de una buena koinōnía se ve obstaculizada por la potencia emocional y perversión psicológica de la poesía mimético-placentera, la cual estimula y fortalece la parte irracional del alma de sus receptores mediante la imitación de personajes ligados al deseo y la ira. Para tal fin examino, en primer lugar, algunos de los pasajes de República IV en los que es posible suscribir la prioridad que tiene la tripartición psíquica (...) |
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The quarrel between Plato and the poets in the Utopia and try to exclude them from there is a very important subject in the Republic. He in the book III explains the limits for poems and determines the poems that can be read for youths and the poems that cannot be read for them. This radical Platonic approach to the poets and their poems can be linked today to the many different media especially TV and its programs. In Plato's view, (...) |
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