Plato’s Styles and Characters

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(Beiträge zur Altertumskunde 341) Gabriele Cornelli - Plato’s Styles and Characters Between Literature and Philosophy-Walter de Gruyter (2016)

Document Outline

  • Plato’s Styles and Characters: Between Literature and Philosophy
  • Table of Contents
  • Introduction
  • Plato’s Literary Style
  • Samuel Scolnicov: Beyond Language and Literature
  • Raúl Gutiérrez: The Three Waves of Dialectic in the Republic
    • Works Cited
  • Mary Louise Gill: Plato’s Unfinished Trilogy: Timaeus–Critias–Hermocrates
    • Works Cited
  • María Angélica Fierro: The Myth of the Winged Chariot in the Phaedrus: A Vehicle for Philosophical Thinking
    • Articulation of three anthropological models through the mythical account
    • The mythical account of our human condition: our present existence and the existence ante nativitatem and post mortem in a cosmic context
    • The mythical account as the appropriate speech for a Phaedrus-like soul
    • Conclusion
    • Works Cited
  • Lucas Soares: Perspectivism, Proleptic Writing and Generic agón: Three Readings of the Symposium
    • I. Perspectivist reading
    • II. Proleptic writing and dialogic-philosophical counterpoints
    • III. An agón of discursive genres
    • Works Cited
  • Graciela E. Marcos de Pinotti: Plato’s Argumentative Strategies in Theaetetus and Sophist
    • 1. The Factum of Language in Theaetetus. Refutation of Heracliteanism and Self-Refutation of Protagoras
    • 2. The Factum of Language in Sophist. On How to Refute Those Who Deny Something “Absolutely”
    • Works Cited
  • José Trindade Santos: “Reading Plato’s Sophist”
    • I
      • 1. The elenctic dialogues
      • 2. The dialogues on the Theory of Forms
      • 3. The Theaetetus
      • 4. The Sophist I
    • II Reading the Sophist
      • 1. Form and content
      • 2. The “program” of the dialogue
      • 3. The structure of the dialogue
      • 4. Conclusion
    • Works Cited
  • Other Genres and Traditions
  • Michael Erler: Detailed Completeness and Pleasure of the Narrative. Some Remarks on the Narrative Tradition and Plato
    • Introduction
    • Examples from Plato’s dialogues
    • Tradition
    • Narrative Tradition and Plato’s dialogues
    • Plato’s understanding of utility
    • Conclusion
    • Works Cited
  • Dino De Sanctis: The meeting scenes in the incipit of Plato’s dialogue
    • Works Cited
  • Gilmário Guerreiro da Costa: The Philosophical Writing and the Drama of Knowledge in Plato
    • Works Cited
  • Marcus Mota: Comic Dramaturgy in Plato: Observations from the Ion
    • Conclusion
    • Works Cited
  • Mario Regali: Amicus Homerus: Allusive Art in Plato’s Incipit to Book X of the Republic (595a–c)
    • Works Cited
  • Fernando Muniz: Performance and Elenchos in Plato’s Ion
    • 1. Goethe and Ion
    • 2. Images of poetry and the Rhapsode
    • 3. The Rhapsode as Hermeneutist of the Hidden Meaning
    • 4. Performance and Elenchos
    • 5. The Rhapsode as Transmission Hermeneutist
    • 6. Performance and hyponoia
    • 7. Elenchos and Paradox
    • 8. Conclusion
    • Works Cited
  • Mauro Tulli: Plato and the Catalogue Form in Ion
    • Works Cited
  • Fernando Santoro: Orphic Aristophanes at Plato’s Symposium
    • Works Cited
  • Álvaro Vallejo Campos: Socrates as a physician of the soul
    • The Apology
    • The Gorgias
    • The Therapy of Totality
    • Works Cited
  • Silvio Marino: The Style of Medical Writing in the Speech of Eryximachus: Imitation and Contamination
    • Medicine: Its Praise and the Demonstration of its Existence
    • Praise of eros, Praise of pneuma, Praise of logos
    • Praise of eros or praise of the dialogos?
    • Contamination of Models and Platonic Proposal
  • Esteban Bieda: Gorgias, the eighth orator. Gorgianic echoes in Agathon’s Speech in the Symposium
    • A. Form: cosmetic correspondences
    • B. Style: the ἴσα λέγειν
    • C. Content of both speeches: encomium of lógos, encomium of Éros
    • Conclusion
    • Works Cited
  • Beatriz Bossi: Plato’s Phaedrus: A Play Inside the Play
    • I.
    • II. “Dear Phaedrus, where are you going and where do you come from?”(227a1)
    • III. “If I don’t know Phaedrus, I have forgotten myself” (228a5–6)
    • IV. “I investigate not these things but myself” (230a3)
    • V. “Perhaps the attack may be averted” (238d6)
    • VI. “This way my story will meet the end it deserves, and I will cross this stream and leave before you put some further compulsion upon me” (241e8–242a2).
    • VII. Soc.: “Where is the boy to whom I was speaking? He should hear this also; if he does not, he may rush to please the non-lover. Phaed.: “Here he is, always by your side, very close, whenever you want him” (243e4–8).
    • Works Cited
  • Plato’s Characters
  • Gabriele Cornelli: He longs for him, he hates him and he wants him for himself: The Alcibiades Case between Socrates and Plato
    • Works Cited
  • Debra Nails: Five Platonic Characters
    • I. Meno
    • II. Theaetetus
    • III. Diotima
    • IV. Phaenarete
    • V. Unnamed of Athens
    • Modern Works Cited
  • Francisco Bravo: Who Is Plato’s Callicles and What Does He Teach?
    • I. Callicles and the Thesis of the Strongest’s Rights
    • II. Callicles’ Allies
    • III. Who Is the Strongest?
    • IV. Who Is Callicles?
    • Works Cited
  • Michele Corradi: Doing business with Protagoras (Prot. 313e): Plato and the Construction of a Character
    • 1. Memory of the μῦθος
    • 2. From the Protagoras to the Republic: politics, παιδεία and poetry
    • 3. Punishment τοῦ μέλλοντος χάριν
    • 4. An ἀγγεῖον for Protagoras’ μαθήματα
    • Works Cited
  • Marcelo D. Boeri: Theaetetus and Protarchus: two philosophical characters or what a philosophical soul should do
    • Plato’s spokesmen and Plato’s voice
    • Theaetetus and Protarchus as philosophical interlocutors
    • Epilogue: the dialogue as a cooperative work
    • Works Cited
  • Christian Keime: The Role of Diotima in the Symposium: The Dialogue and Its Double
    • I. The dialogue and its double
    • II. The function of Diotima and the reported dialogue: a communication tool.
      • II.1. Adapting to the interlocutor.
      • II.2. Limits and good usage of a didactic monologue
      • II.3. The virtue of dialogue
    • Works Cited
  • Contributors
  • Citations Index
  • Author Index
  • Subject Index

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