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  1. The Disorderly Motion in the Timaios.Gregory Vlastos - 1939 - Classical Quarterly 33 (2):71-83.
    So much has been written on this vexed issue, that one hesitates to reopen it. Yet one has no other choice when one finds scholars accepting as generally agreed a view which rests on altogether insufficient evidence. I propose, therefore, to examine the main grounds on which recent authorities interpret the disorderly motion of Tm 30a, 52d–53b, and 69b as a mythical symbol. They are four: I. That the Timaios is a myth; II. The testimony of the Academy; III. That (...)
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  • Timaean Particulars.Allan Silverman - 1992 - Classical Quarterly 42 (01):87-.
    At 47e–53c of the Timaeus Plato presents his most detailed metaphysical analysis of particulars. We are told about the construction of the physical universe, the ways we can and cannot talk about the phenomena produced, and about the two causes – Necessity and Intelligence – which govern the processes and results of production. It seems to me that we are told too much and too little: too much, because we have two accounts of the generation of phenomenal particulars – one, (...)
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  • Timaean Particulars.Allan Silverman - 1992 - Classical Quarterly 42 (1):87-113.
    At 47e–53c of the Timaeus Plato presents his most detailed metaphysical analysis of particulars. We are told about the construction of the physical universe, the ways we can and cannot talk about the phenomena produced, and about the two causes – Necessity and Intelligence – which govern the processes and results of production. It seems to me that we are told too much and too little: too much, because we have two accounts of the generation of phenomenal particulars – one, (...)
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  • The Contents of the Receptacle.Sarah Broadie - 2003 - Modern Schoolman 80 (3):171-190.
    The Receptacle of the title is, of course, the ‘Receptacle of all becoming’ in Plato’s Timaeus. Plato likens it to a ‘nurse’, and even calls it a ‘mother’. He speaks of it as that in which its contents come to be, only in their turn to disappear from it. He compares it to a mass of gold which someone incessantly remoulds into different shape. He declares it completely unchanging: ‘it does not depart from its own character in any way'. What (...)
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