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1
Pasqualoni, Anthony Michael. "Collection and division in Plato's Dialogues." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/22927.
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Plato describes a way of reasoning that comprises two complementary operations, collection and division. Collection unifies many into one while division divides one into many. In other words, while collection brings together many parts into a whole, division divides a whole into many parts. While Plato goes into some detail in his observations on collection and division, several questions remain unanswered. More specifically, the means by which collection and division operate, their product, and their relation to deductive and non-deductive reasoning are uncertain. The purpose of this study is to shed light on collection and division by defending the following thesis: collection and division define logical frameworks that underlie both deductive and non-deductive reasoning. Chapter 1 will introduce collection and division by reviewing recent literature, defining key terms, and discussing illustrations of collection and division in the dialogues. Chapter 2 will explain how collection and division define logical frameworks through three operations: seeing, naming, and placing. These operations will be discussed in terms of their relations to reasoning about wholes and parts. Chapter 3 will present four models for interpreting the logical structures that are produced by collection and division. It will present the argument that collection and division define non-hierarchical structures of overlapping parts. Chapter 4 will present the argument that collection and division define whole-part relations that underlie deductive reasoning on the one hand, and the formulation of definitions in dialogues such as the Sophist and the Statesman on the other. Chapter 5 will explore the relation between collection and division and non-deductive reasoning. It will present the argument that Meno’s definition of virtue and Euthyphro’s definition of piety are formulated using collection and division. Chapter 6 will provide a summary of key points from the preceding chapters and discuss unanswered questions and avenues for future research.
2
Danielewicz, Joseph Robert. "Parody as Pedagogy in Plato's Dialogues." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1429860470.
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Marušič, Jera. "Plato and the poets : epistemological, ethical and ontological arguments in the Dialogues." Thesis, University of Edinburgh, 2008. http://hdl.handle.net/1842/3306.
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The thesis focuses on Plato’s treatment of poetry in the Ion, Gorgias and Republic X. Although these discussions provide three quite different accounts of poets and their activity and have thus commonly not been associated, a similar objective may be detected in them: they all aim to disqualify poets, presenting them as incompetent in what they do or also (in the Gorgias and Republic X) as morally harmful. My aim is first to show how the three discussions differ from Plato’s other major discussions of poetry in Republic II-III and Laws II and VII: while the former provide (disqualifying) answers to the descriptive questions of whether poets have relevant knowledge and how they morally affect their public, the latter are concerned with the prescriptive questions of what poets should do in their envisaged role as political instruments (Chapter I). In the close study of the three discussions, my aim is to identify, critically examine and compare the ‘disqualifying’ strategies employed in them: I consider, on the one hand, how they substantiate the charges of poets’ incompetence or moral harmfulness and on the other hand, how they counter and account for the widely shared appreciation of Homer and other poets (Chapters II-V). Before discussing Republic X, however, I consider separately the notion of poets’ μίμησις (representation/ imitation), which in Republic X has a prominent role, but at the same time appears difficult to understand in itself as well as seemingly inconsistent with Plato’s other arguments about poets’ μίμησις, in particular in Republic III. Rejecting the widely accepted assumption of ‘narrower’ and ‘wider’ meanings of the term μίμησις respectively in Books III and X of the Republic, I analyse the notion of μίμησις in itself, and, following this I distinguish between three kinds of poets’ μίμησις and define in what elements they differ (Chapter IV). In the final overview of the three discussions, I reconsider how successful are their disqualifying depictions of poets.
4
Sheffler, Daniel T. "The Metaphysics of Personhood in Plato's Dialogues." UKnowledge, 2017. http://uknowledge.uky.edu/philosophy_etds/16.
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While most scholars know, or think they know, what Plato says about the soul, there is less certainty regarding what he says about the self. Some scholars even assert that the ancient Greeks did not possess the concepts of self or person. This dissertation sets out to examine those passages throughout Plato's dialogues that most clearly require some notion of the self or the person, and by doing so to clarify the logical lineaments of these concepts as they existed in fourth century Athens. Because Plato wrote dialogues, I restrict myself to analyzing the concepts of self and person as they appear in the mouths of various Platonic characters and refrain from speculating whether Plato himself endorses what his characters say. In spite of this restriction, I find a number of striking ideas that set the stage for further philosophical development. After an introductory chapter, in Chapters 2 and 3 I argue that the identification of the person with the soul and the identification of the human being with the composite of soul and body make possible a conceptual split between person and human being. In Chapter 4, I argue that the tripartite account of the soul suggests an ideal identification of the person with the rational aspect of the soul rather than the lower aspects of one's psychology. Finally, in Chapter 5 I argue that the analogical link between rationality in us and the rational order of the cosmos leads to the conclusion that the true self is, in some sense, divine.
5
Flores, Samuel Ortencio. "The Roles of Solon in Plato’s Dialogues." The Ohio State University, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=osu1371638577.
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6
Coventry, Lucinda Jane. "Understanding and literary form in Plato : with special reference to the early and middle dialogues." Thesis, University of Oxford, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303503.
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7
Caristia, Teresa. "La techné dialectique : étude sur la méthode des hypothèses et la procédure de la division dans les Dialogues de Platon." Thesis, Paris 1, 2019. http://www.theses.fr/2019PA01H217.
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Notre travail a eu pour objectif d’analyser certains aspects de la méthodologie dialectique chez Platon, plus précisément nous avons essayé de comprendre le modus operandi respectivement du procédé hypothétique (mis en place dans le Ménon, le Phédon, les livres VI et VII de la République, et la seconde partie du Parménide) et de la méthode de rassemblement et de division (appliquée dans le Phédre, le Sophiste et le Politique) ; nous avons également éclairé l’étroite continuité et complémentarité qu’établissent ces deux procédures quant aux finalités poursuivies et aux mouvements de recherche empruntés. La réflexion autour des procédures dialectiques de recherche est, en effet, au cœur de l’entreprise épistémologique que Platon engage notamment à partir des dialogues de la maturité ; celle-ci se nourrit du débat méta-scientifique autour des fondements (ἀρχαί) et prend ensuite la médecine d’Hippocrate comme un modèle abouti d’intelligibilité rationnelle appliquée au monde empirique. L’exigence d’avoir prise sur la pluralité et les différences explique les trajectoires et les nouveaux enjeux de la dialectique menée dans les dialogues tardifs ; à cette fin, la notion de τέχνη se révèle être l’outil théorique le plus approprié pour restituer la complexité des démarches de la dialectique platonicienne. L’idéal de connaissance, dont la dialectique est porteuse, se caractérise essentiellement par le refus de tout élément axiomatique-déductif et le recours à l’intuition noétique. C’est en cela que consiste la distance de l’ἐπιστήμη platonicienne du modèle de science aristotélicienneThis work seeks to analyze certain aspects of Plato’s dialectical methodology. It especially aims at understanding the modus operandi of the hypothetical reasoning (as it was implemented in the Meno, the Phaedo, books VI and VII of the Republic and the second part of Parmenides) on the one hand, and the method of collection and division (as it was applied in Phaedrus, Sophist and the Statesman). It also highlighted the tight link and complementariness these two methods allow with regards the pursued end and the research orientation taken. Indeed, the reflection about the dialectical processes of research is at the heart of Plato’s epistemological enterprise, especially from the middle-period dialogues. His questioning was based on the meta-scientific debate around the foundations (ἀρχαί) and then took Hippocrates’s medicine as a successful model of rational intelligibility applied to the empirical world. The world of plurality and of the many accounts for the orientation and the new objects of the dialectics used in the later dialogues. To this end, the concept of τέχνη appears to be the most relevant theoretical tool to restore the complexity of the Platonician dialectical endeavor. The theory of knowledge, to which dialectics lead, is essentially characterized by the refusal of any axiomatic deductive element, and the use of noetic insight. This is how the Platonician ἐπιστήμη departs from the Aristotelian scientific method
8
Scrofani, Francesca. "Le Minos dans le Corpus Platonicum. Une théorie de la loi dans l'Académie." Thesis, Paris, EHESS, 2017. http://www.theses.fr/2017EHES0101.
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La thèse propose une analyse du Minos, court dialogue du Corpus Platonicum considéré comme apocryphe à partir du XIXème siècle. Ce dialogue pose la question de la définition de la loi et fait l’éloge de la figure de Minos en tant que roi et législateur. En le resituant dans son contexte historique au-delà de toute question d’authenticité, l’étude se propose de restituer au dialogue son organicité et son unité, qui lui sont niées par les études qui considèrent le dialogue comme le sous-produit d’un imitateur. L’étude se compose de trois noyaux. D’abord, une étude sémantique de l’argumentation, fondée sur des jeux étymologisants entre nomos, nomizein, dianemein, nemein, nomeus, permet à la fois de retracer l’unité et la subtilité de l’argumentation du dialogue et d’entamer une réflexion sur l’étymologie comme méthode argumentative utilisée par Platon et attestée dans d’autres dialogues apocryphes. Ensuite, une étude des trois définitions de la loi présentes dans le dialogue mène à une discussion sur les ressemblances et les différences entre le Minos et les grands dialogues politiques du corpus, République, Politique et Lois. Enfin, l’étude de l’éloge du roi Minos permet de voir les éléments communs au Minos et aux Lettres et de situer le dialogue dans un contexte précis : au IVème siècle, lorsque surgit un nouvel intérêt pour les figures monarchiques, et en particulier dans le contexte de l’Académie ancienne. L’éloge qui fait de la figure de Minos (perçu comme un tyran dans la société athénienne) un roi-législateur fondateur des meilleures lois grecques apparaît comme un manifeste de l’entreprise des réformes des tyrannies commencée par Platon et continuée par les Académiciens après sa mort. Les trois analyses aboutissent toutes à la même conclusion : le Minos peut être considéré comme l’une des premières exégèses des dialogues politiques de Platon dans le cadre de l’Académie. Cette exégèse présuppose une « lecture » de la lettre figée des dialogues authentiques et en reprend les concepts, les images et les méthodes dans une forme qui en est déjà une fixation et une schématisation, dans un contexte politique sensible au renouveau de la figure royale. Enfin, la ressemblance entre le Minos et nombre de fragments attribués à Archytas permet de considérer le Minos comme un hypo-texte fondamental dans la formation des écrits politiques pseudo-pythagoriciensThis dissertation analyzes ps.-platonic Minos, a short dialogue transmitted within the Corpus Platonicum, whose authenticity has been questioned since the 19th century. Minos is centered on the definition of “law” and praises the mythical figure of Minos as a king and a lawmaker. This study replaces the dialogue in its historical context and argues for its philosophical and argumentative coherence. It covers three main points. First, a semantic study of the modes of argumentation used in Minos shows the important role played by etymology as an argumentative method. Second, the study of the three definitions of law provided by the dialogue allows for a comparison between Minos, Republic, Statesman, and Laws. Finally, the study of king Minos’ praise points to the 4th century BC and to the Ancient Academy as the historical context for the production of this text. Therefore, Minos can be considered as one of the first exegeses of Plato’s political dialogues produced within the Academy
9
Tankha, Vijay. "The analogy between virtue and crafts in Plato's early dialogues /." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=74591.
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This thesis investigates Plato's analogy between virtue and crafts, a comparison made extensively in the early dialogues. I first detail the model of technical knowledge that Plato uses as a paradigm of knowledge. An application of this model shows the inadequacies in some claims to know or to teach virtue. Applying the model to the Socratic dictum, 'Virtue is knowledge' enables us to understand what such knowledge is about. Such knowledge is identified as 'self-knowledge' and is the product of philosophy. Philosophy is thus revealed as the craft of virtue, directed at the good of individuals. One problematic aspect of the analogy between virtue and crafts is the possibility of misuse. Virtue conceived as self-knowledge enables Plato to explain both why such a craft cannot be misused and why it alone can be the basis for benefiting others.
10
Kritikakos, Evangelos 1970. "Apocryphal Plato : the problematic of the subject in Plato's mimetology : a study of four Platonic dialogues." Monash University, School of Languages, Cultures and Linguistics, 2003. http://arrow.monash.edu.au/hdl/1959.1/5561.
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Labriola, Daniele. "On Plato's conception of philosophy in the Republic and certain post-Republic dialogues." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/4497.
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This dissertation is generally concerned with Plato's conception of philosophy, as the conception is ascertainable from the Republic and certain ‘post-Republic' dialogues. It argues that philosophy, according to Plato, is multi-disciplinary; that ‘philosophy' does not mark off just one art or science; that there are various philosophers corresponding to various philosophical sciences, all of which come together under a common aim: betterment of self through intellectual activity. A major part of this dissertation is concerned with Plato's science par excellence, ‘the science of dialectic' (he epistêmê dialektikê). The science of dialectic is distinguished in Plato by being concerned with Forms or Kinds as such; the science of dialectic, alone amongst the philosophical sciences, fully understands what it means for Form X to be a Form. I track the science of dialectic, from its showcase in Republic VI and VII, and analyze its place in relation to the other philosophical sciences in certain post-Republic dialogues. Ultimately, I show that, whilst it is not the only science constituting philosophy, Plato's science of dialectic represents the intellectual zenith obtainable by man; the expert of this science is the topmost philosopher. In this dissertation I also argue that Socrates, as variously depicted in these dialogues, always falls short of being identified as the philosopher par excellence, as that expert with positive knowledge of Forms as such. Yet I also show that, far from being in conflict, the elenctic Socrates and the philosopher par excellence form a complementary relationship: the elenctic philosopher gets pupils to think about certain things in the right way prior to sending them off to work with the philosopher par excellence.
12
Dypedokk, Johnsen Hege. "Erôs and Education : Socratic Seduction in Three Platonic Dialogues." Doctoral thesis, Stockholms universitet, Filosofiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-133025.
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Plato’s Socrates is famous for claiming that “I know one thing: That I know nothing” (see e.g. Ap. 21d and Meno 81d). There is one subject that Socrates repeatedly claims to have expertise in, however: ta erôtika (see e.g. Symp. 198d1). Socrates also refers to this expertise as his erôtikê technê (Phdr. 257a7–8), which may be translated as “erotic expertise”. In this dissertation, I investigate Socrates’ erotic expertise: what kind of expertise is it, what is it constituted by, where is it put into practice, and how is it practiced? I argue that the purposes this expertise serve are, to a significant extent, educational in nature. After first having clarified the dissertation’s topic and aim, as well as my methodological approach, I present an initial account of erôs and Socrates’ erotic expertise. While discussing what constitutes Socrates’ erotic expertise, I account for two erotic educational methods: midwifery and matchmaking. I further argue that these methods tend to be accompanied by two psychological techniques, namely charming and shaming. I argue that these methods and techniques are systematically applied by Socrates when he puts his erotic expertise into practice. In the dissertation, three dialogues where Socrates practices his erotic expertise are scrutinized: Lysis, Charmides, and Alcibiades I. I focus on Socrates’ encounters with the eponymous youths of the dialogues, and each dialogue is devoted a chapter of its own. I show how these dialogues are erotically charged, and also how Socrates in these dialogues demonstrates his erotic expertise. I argue that Socrates’ expertise on erôs plays an essential role in his attempts to engage the three youths in the processes of self-cultivation, learning, and the very practice of philosophy. In the final chapter of the dissertation I turn to some questions that arise in light of my readings, and summarize the results of my investigation.
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Quinquis, Benoît. "La conception de l'immortalité de l'âme dans les dialogues de Platon : sources et enjeux." Thesis, Brest, 2015. http://www.theses.fr/2015BRES0108/document.
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La démonstration de l’immortalité de l’âme dans les dialogues de Platon, notamment dans le Phédon, a été abondamment commentée au point d’avoir longtemps servi de référence majeure sur cette question. Cette thèse se propose donc de « déconstruire » le propos platonicien relatif à la survie de l’âme afin de découvrir si cette conception n’est pas sous-tendue par des intuitions spontanées que peut avoir tout homme lorsqu’il prend conscience de son être propre et qui, précisément, l’amènent à se penser doté d’une âme survivant à son corps ; que nous dit Platon, explicitement ou non, sur ces intuitions ? De quelles vérités humaines les mythes eschatologiques se font-ils l’écho ? Pour tenter de répondre à cette problématique, la thèse s’ouvre sur une première partie spécifiquement consacrée à un commentaire des développements platoniciens relatifs à l’immortalité de l’âme, ne passant sous silence ni le contexte dans lequel Platon situait ses dialogues ni son projet philosophique, éthique et politique global. Sur la base des conclusions de cette exégèse, s’engage ensuite une analyse des rapports qu’entretient la thèse de la survie post corporis mortem de l’âme avec les principaux aspects de la spécificité humaine mis en jeu dans la démonstration platonicienne ; la dernière partie, enfin, tente d’opérer la synthèse des idées développées antérieurement et propose quelques hypothèses pour identifier les sentiments se situant à la source de la croyance en l’immortalité de l’âme et déterminer si Platon faisait siens ces sentiments ou non : ainsi, la boucle sera bouclée et cette thèse devrait donner de quoi répondre à certaines idées reçues relatives à PlatonThe demonstration of immortality of soul in Plato’s dialogues, notably in Phædo, has been the object of many commentaries : as a result, it has been for a long time the major reference about this question. So, this thesis’ purpose is accomplishing the « deconstruction » of Plato’s writings about soul’s survival : when he begins to know his own being, every human might have spontaneous intuitions which make he thinks his soul survive after body’s death. Maybe such intuitions underlie this concept in Plato’s dialogues : so, what does Plato, explicitly or not, tell about these intuitions ? Which human features underlie his eschatological myths ? In order to try to answer these questions, the actual commentary of Plato’s explanations concering immortality of soul will be the object of thesis’ first part : this commentary will forget neither the context of dialogues nor Plato’s philosophical, ethical and politcal whole plans. This exegesis will lay the foundations for an analysis of links betweem the concept of soul’s survival after body’s death and human specificity’s major aspects which Plato mentions in his explanations ; the last part will try to summarize what has been previously presented and will propose some hypothesis in order to identify human feelings which constitute the source of belief in soul’s immortality and to see if these feelings were Plato’s ones or not. As a result, the thesis will come full circle and might contradict some wrongly widespread ideas concerning Plato
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Seferoglu, Tonguc. "The Importance Of The Meno On The Transition From The Early To The Middle Platonic Dialogues." Master's thesis, METU, 2012. http://etd.lib.metu.edu.tr/upload/12614326/index.pdf.
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The purpose of the present study is to signify the explanatory value of the Meno on the coherence as well as the disparateness of the Plato&rsquos early and middle dialogues. Indeed, the Meno exposes the transition on the content and form of these dialogues. The first part of the dialogue resembles the Socrates&rsquo
way of investigation, the so-called Elenchus, whereas Plato presents his own philosophical project in the second part of the dialogue. Three fundamental elements of Plato&rsquo
s middle dialogues explicitly arise for the very first time in the Meno, namely
the recollection, the hypothetical method and reasoning out the explanation. Therefore, the connexion of the early and middle dialogues can be understood better if the structure of the Meno is analyzed properly. In other words, the Meno is the keystone dialogue which enables the readers of Plato to sense the development in Socratic-Platonic philosophy.
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Lynch, Tosca. "'Training the soul in excellence' : musical theory and practice in Plato's dialogues, between ethics and aesthetics." Thesis, University of St Andrews, 2013. http://hdl.handle.net/10023/4290.
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This thesis offers a technically informed examination of Plato's pervasive, though not innocent, use of musical theory, practice and musical concepts more generally within the ambitious ethical project outlined in many of his dialogues: fostering the ‘excellence' of the soul. Starting from Republic 3, Chapter 1 will focus specifically on music stricto sensu in order to assess Plato's interpretation of the basic ‘building blocks' of musical performances, creating a core repertoire of musical concepts that will prepare the way to analyse Plato's use of musical terms or categories in areas that, at first sight, do not appear to be immediately connected to this art, such as politics, ethics and psychology. Chapter 2 examines a selection of passages from Laws 2 concerning the concept of musical beauty and its role in ethical education, demonstrating how Plato's definition is far from being moralistic and, instead, pays close attention to the technical performative aspects of dramatic musical representations. Chapter 3 looks first at the harmonic characterisation of the two central virtues of the ideal city, sophrosyne and dikaiosyne, showing how their musical depictions are not purely metaphoric: on the contrary, Plato exploited their cultural implications to emphasise the characteristics and the functions of these virtues in the ideal constitution. The second half of Chapter 3 analyses the Platonic portrayal of musical παρανομία, studying both its educational and psychological repercussions in the dialogue and in relations to contemporary Athenian musical practices. Chapter 4 looks at how different types of music may be used to create an inner harmonic order of passions in the soul in different contexts: the musical-mimetic education outlined in the Republic, the musical enhancement of the psychological energies in the members of the Chorus of Dionysus in the Laws, and finally the role of the aulos in the Symposium.
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Vaeren, Odile van der. "L'émergence d'une nouvelle conception de l'expertise dans les dialogues de jeunesse de Platon." Doctoral thesis, Universite Libre de Bruxelles, 2011. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209946.
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Platon problématise un moment philosophique charnière :le coup de force donné par Socrate à la conception de l’expertise. La problématique s’inscrit, d’un point de vue externe, dans un contexte de crise des valeurs de la démocratie athénienne à la fin du Ve siècle, et d’un point de vue interne, dans l’exploitation platonicienne de l’expertise technicienne en vue d’établir une véritable epistèmè, une science-vertu. La souplesse originale de langage à laquelle Platon soumet le champ des trois termes relatifs au savoir, epistèmè, technè et sophia, participe à la problématisation de l’expertise comme mise en condition de ce qui force à penser. Une conception nouvelle de l’expertise émerge de la mise en scène, dans les dialogues de jeunesse, d’une pratique de questionnement et d’examen à laquelle tantôt Socrate se soumet lui-même, tantôt il soumet ses interlocuteurs. Cet angle d’approche tant de l’Apologie que des autres dialogues de jeunesse met en évidence des pratiques d’expertise impliquant un rapport autre à la connaissance qui est révolutionnaire :un examen critique, interrogatif et inventif, empreint de conscience de son ignorance et de souci de soi. La conception de l’expertise réévaluée est exploitée, à trois niveaux de la problématique de la justice traitée dans la République :elle intervient comme levier interrogateur des conceptions traditionnelles et sophistiques de la justice, elle participe à la compréhension de la définition de la justice et elle préside au projet de cité idéale.
Doctorat en Philosophie
info:eu-repo/semantics/nonPublished
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FRECHEIRAS, KÁTIA REGINA DE OLIVEIRA. "THEORY OF KNOWLEDGE IN PLATO: THE METHOD OF HYPOTHESIS IN THE DIALOGUES MENO (86E-87B), PHAEDO (101D-E) AND REPUBLIC (VI, 509D-511E)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2010. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=16788@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROA presente tese apresenta uma investigação acerca do método da hipótese em Platão. Foram analisadas as passagens do Mênon (86e-87b), do Fédon (101d-e) e da República (VI, 509d-511e), lugares em que o método hipotético sustentaria um discurso científico, inspirado em métodos matemáticos. No estudo, foram utilizados fragmentos de autores antigos que tratam das matemáticas, além de textos de estudiosos e comentadores contemporâneos sobre a natureza da hipótese, a fim de subtraí-los de compreensões filosóficas anacrônicas em relação ao texto platônico. Entre as três passagens metodológicas foram estabelecidas semelhanças e dessemelhanças, para identificarmos até que ponto esse método se constitui ou não num método único. Caso apresente procedimentos diversos, como eles então, verdadeiramente se apresentam? O vocabulário geométrico utilizado por Platão; as disciplinas matemáticas e sua importância no programa de educação platônico; o método do elenchos e o método analítico dos geômetras gregos, também são objetos de estudo da tese.
This thesis is an investigation of Plato s method of hypothesis. With this purpose, the following passages of Plato s dialogues were analyzed, in which the hypothetical method is supposed to sustain a scientific discourse, inspired by mathematical methods: Meno (86e-87b), Phaedo (101d-e) and Republic (VI, 509d- 511e). In this study, we have used fragments of ancient authors on mathematics, besides texts by contemporary scholars and commentators on the nature of the notion of hypothesis as used by Plato, in order to exclude any anachronic philosophical understanding of it. Among the three methodological passages, similarities and dissimilarities were established, in order to verify to which degree this method is or is not one and the same. In case it shows different procedures, what are they, really? The geometrical vocabulary used by Plato, the mathematical disciplines and their importance in the platonic educational program, the socratic elenchus and the analytical method of the Greek geometers are also objects of investigation.
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CAMPOS, ANTONIO JOSE VIEIRA DE QUEIROS. "THE SOCRATES EIRONEÍA AND THE THE PLATO S IRONY IN THE EARLY DIALOGUES: (A CRITICAL VIEW ON PROFESSOR VLASTOS S NOTION OF SOCRATES COMPLEX IRONY)." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2016. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=29362@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta tese tem um propósito estratégico e um tático. O estratégico diz respeito a propor uma leitura dos chamados primeiros diálogos socráticos, que leve, tanto quanto possível, a uma maior preocupação com o aspecto literário dos textos em sua indissolúvel ligação com o conteúdo filosófico, tentando encontrar temas , e estratagemas discursivos que consubstanciem , na inédita e irrepetível narratividade filosófica platônica, a inextricável relação entre forma e conteúdo, literatura e filosofia, mímesis e denuncia da mímesis, relação esta que não pode ser resumida ou banalizada em perspectivas interpretativas que apenas concedem à dramaturgia e narratividade platônicas papel secundário, instrumental, na composição do corpus platonicum, entendendo os diálogos como mera forma literária de se expressarem doutrinas ou pensamentos filosóficos. Dentro desse enquadramento geral, pretende-se apresentar como as chamadas eironeía socrática e a ironia platônica podem ter-se constituído no único (ou pelo menos o mais perfeito) elemento de aproximação ou mesmo de identificação entre a visão dualista de mundo platônica – com suas perplexidades e até ambiguidades teóricas – e a construção de sua literatura , onde sobressai o personagem Sócrates , enigmático, atópico, paradoxal, enfim, tão aparentemente dúplice quanto possível para um ser humano. E nada como um procedimento comumente associado à ordem da retórica, ou seja, da literatura, - a ironia- para unificar o dualismo platônico e as ambiguidades de seu protagonista, Sócrates. Nesse processo, se verá como essa ironia, retirada de seu âmbito do meramente linguístico e apresentada como o elemento –síntese dos sokratikoì lógoi, será corpo (literatura) e alma (filosofia) da mais bela construção literário-filosófica do Ocidente plasmada pelo gênio de Platão. Por outro lado, do ponto de vista tático, a tese aborda a importância da distinção entre o uso que Platão faz da eironeía na sua acepção mais antiga na língua grega, de viés pejorativo, como engano, trapaça, dolo etc e encarna tal noção em seu protagonista Sócrates, e a noção moderna de ironia, que hoje reduzimos a mera figura de estilo ou de linguagem, que indica elegância , bom gosto e sofisticação no falar. Para tanto, estabelecemos uma controvérsia com Gregory Vlastos, na esteira da polêmica provocada por esse ilustre comentador de Platão, de que apresentamos os principais críticos, a propósito de sua noção de ironia complexa para dar conta das perplexidades na leitura dos diálogos decorrentes do uso multifacetado e fascinante do recurso da ironia. Esse movimento tático do debate é importante por ser Vlastos uma referência desde o último lustro do século XX sobre temas socráticos, sobretudo o conceito de ironia complexa e conhecimento elênctico. Além disso, tento avançar a hipótese de que seria exatamente a tendência da leitura de Vlastos no sentido de subestimar o papel da literatura no modo dialético de Platão fazer filosofia, e o privilégio quase absoluto que deu a um exame dos textos do fundador da Academia recortando-lhe de preferência seu dizer apofântico, de modo obstinada e exclusivamente analítico, em detrimento de uma contextualização dramática, tudo isso, enfim, redundou em uma leitura profundamente descontextualizada e anti-literária da obra do filósofo. Esta seria, ao meu ver, também a raiz de sua equivocada e limitada compreensão do misterioso personagem Sócrates, que em sua explicação, no esforço de elucidá-lo em sua evasividade e astúcias discursivas, termina por sobrecarregá-lo ainda mais de perplexidades invencíveis. No afã assumido de salvar Sócrates (que ele praticamente toma como apenas retratado em sua historicidade por Platão) de qualquer acusação de conduta sofística ou de uso de expedientes enganadores, Vlastos talvez o tenha submerso em ainda mais aporias do que ele próprio teria criado nos diálogos que protagoniza, na consumação de seu método de pe
This thesis has both an strategic and a tactical goal. The strategic goal has to do with proposing some reading of the so called early socratic dialogues that guides the reader, as much as possible, to a major concern with the dialogues literary aspects in its indissoluble connection with its philosophic contente, trying to find themes and discursive manoeuvres that may consubstantiate, in the unprecedented and unique platonic philosophic narrativity, the inextricable relation between form and content, literature and philosophy, mímesis and mimesis disruption at a time. This relation form/content in Plato shouldn t be abridged nor trivialized in interpretive views that just allow platonic dramaturgy and narrativity a secundary and instrumental role in the corpus platonicum composition, assuming the dialogues as a mere literary form for doctrines and philosophic thoughts being expressed. In this general frame, this thesis intends to show how the so called socratic eironeía and platonic irony may have beeen converted in the only (or t least the most perfect) element of approximation or even of identification between the Plato s dualistic view over the world – with all its puzzles and theoretical ambiguities – and the construction of his own literature, where his character Socrates stands out, as enigmatic, atopic, paradoxical, in a word, as dubious as possible for a human being. And there s nothing like a procedure commonly associated to rethoric field, that is, to literature, - irony – to unifiy the platonic dualism and the ambiguities of his protagonist, Sócrates. In this process, we ll see how this irony, withdrawn from its merely linguistic field and shown as the key-element of the sokratikoì lógoi, wil be body (literature) and soul (philosophy) for the most beautiful literary-philosophioc construction of western world, put together by Plato s genius. On the other hand, from tatics point of view, this thesis takes up the importance of the distinction between the use Plato gives to eironeía, in his most ancient meaning in greek, clearly derogatory, in a sense of trickery, deceit, fraud etc, and embody this connotation into his protagonits Socrates, and, in the other corner, the modern notion of irony, shrunken nowadays to mere tropos or figure of speech, something that depicts the tallker as someone elegant and refined with the words. In order to convey all that, I engaged myself into a controversy with Gregory Vlastos, putting myself in the middle of a well known polemic raised by this conspicuous commentator of Plato, whose most influent reviewers are presented here with respect to his notion of complex irony, in order to exhibit how many puzzlings the manifold use of the term eironeía could bring even to the best readers of the dialogues. This tactical moment of all that contention is relevant, once we know Vlastos to be a reference, since the last decades of twentieth century about socratic subjects, and mostly when it comes to his concepts of complex irony and elenctic knowledge. Furthermore, I try toi advance a hypothesis according to which it has been exactly the tendency of Vlastos to underestimate the role of literature in the dialectic manner of Plato deal with philosophy, and thealmost absolute priviledge given by Vlastos to comment on what is said by the characters in an apophantic way rather than taking heed to dramatic contextualization, all this, to my view,has resulted in a reading profoundly uncontextualized and not literary of the philosopher wrntings. That would be too the root of his misleading and limited comprehension of the isterious character Socrates, who in the Vlatos account, instead of clariflying and trying to expose the real motives for his evasiveness and discoursive trickeries, he finishes his analysis by overloadind Socrates with even more invencible puzzles. In Vlastos anxiety to save Socrates (who he takes to be the historic one) from any accusation of bewing sophistic or of using deceitful devcves in the elenchus, Vlastos perhaps had submerged the philosopher in
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Harbsmeier, Martin Sander. "Das Thema der Lebenswahl in Platons Politeia." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät II, 2017. http://dx.doi.org/10.18452/17799.
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Die Dissertation greift zwei neuere Ansätze der Platonforschung (P. Stemmer, N. Blößner) auf. Demnach ist Platons ''Politeia'' keine Lehrschrift, sondern eine kohärente Argumentation, die zudem den im ''Phaidros'' entfalteten Kommunikationsregeln folgt, also auf konkrete Situationen, Beweisziele und Personen bezogen ist. Der Autor konzentriert sich besonders auf den letzten Aspekt und hier vor allem auf die jugendlichen Gesprächspartner des Sokrates, die Brüder Glaukon und Adeimantos. Er zeigt, dass deren Analyse, die öffentliche Meinung der Zeit impliziere eine starke Tendenz zum Egoismus, und das bei ihnen daraus erwachsene, im Dialog drängend artikulierte Bedürfnis nach Gewinnung einer fundierten Gegenposition, die sie von Sokrates erwarten, Anlage und Durchführung von dessen Argumentation in der Tat wesentlich beeinflussen. Weil eine allen Einwänden standhaltende Begründung stets den Nachweis erfordert, dass gerecht zu sein ein intrinsisch notwendiger Bestandteil der Eudaimonie, d.h. eines gelingenden Lebens ist, erweist sich die reflektierte Lebenswahl somit als das zentrale Thema der ''Politeia'', das den Dialog zusammenhält und seinen Aufbau sowie den Zusammenhang seiner vielen unterschiedlichen Sachthemen letztlich erklärt. Behandelt wird dieses Thema aber nicht abstrakt, sondern mit Bezug auf die konkrete Situation der Brüder, von denen Glaukon (so der Autor) die initiative Rolle zuzuschreiben sei. Trotzdem gelinge es Platon, das Gespräch nicht um die Entscheidung einzelner Personen für ihre individuelle Lebensführung kreisen zu lassen, sondern um die grundsätzliche – und sich somit auch auf den Leser des Textes beziehende – Frage, auf welcher Erkenntnisbasis, auf welcher methodischen Grundlage und mit welchem Grad an Gewissheit man solche Entscheidungen überhaupt treffen kann. Diese Sicht macht auch die methodischen und erkenntnistheoretischen Explikationen, die Platons Dialog in beträchtlichem Maße enthält, zu essentiellen Bestandteilen der Argumentation.This dissertation picks up on two recent approaches in Platonic scholarship (P. Stemmer, N. Bloessner), which view Plato’s ''Politeia'' not as a doctrinal work, but rather a coherent argumentation, which, moreover, applies the rules of communication as laid out in the ''Phaedrus'' and is thus related to the argumentative goals of concrete persons in a specific situation. The author primarily focuses on the second aspect, particularly on Socrates’ young interlocutors, the brothers Glaucon and Adeimantus. He shows how their analysis, according to which the public opinion of their time implies a strong tendency towards egoism, and their consequent desire for a well-founded counterargument, for which they turn to Socrates, in fact determines the structure and development of the latter’s argumentation. Since a justification which can withstand all objections requires the demonstration that being just is an intrinsically necessary component of eudaimonia, i.e. of true happiness, a rational life choice thus emerges as the central theme of the ''Politeia'', which gives the dialogue its inner coherence and ultimately explains its structure as well as the connection between the various topics it deals with. This theme is not, however, developed abstractly, but in connection with the concrete situation of the brothers, with Glaucon (according to the author of the dissertation) taking the initiative. However, Plato nonetheless succeeds at not letting the discussion revolve around the particular decisions of an individual regarding a particular way of life, but rather around the fundamental question – which thus also relates to the reader of the text – as to the epistemological and methodological basis for such decisions and the degree of certainty with which they can be reached. According to this interpretation, the methodological and epistemological explications, which figure prominently throughout the dialogue, should be viewed as essential elements of the argumentation.
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Tavares, Paula Domingues. "Saber o amar: os Diálogos de Amor, de Leão Hebreu." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-13092012-124136/.
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Os diálogos escritos por Leão Hebreu no século XVI evidenciam como o tema amor foi objeto de contemplação filosófica no período e trazem diversas reflexões, citações, referências e amplificações de autores da Antiguidade Clássica, tanto Ocidentais como Orientais. Sobressaem Platão e Aristóteles, pois Leão Hebreu frequentemente os insere nas discussões promovidas pelas personagens Fílon e Sofia, utilizando-os como base para a construção de suas argumentações a respeito de diversos temas adjacentes ao principal. Serão discutidos os papéis dos dois filósofos gregos nos Diálogos de Amor, e para tanto, deverá ser adicionado à leitura do texto de Hebreu um outro filósofo do mesmo período: Marsílio Ficino, que possivelmente influenciou os trabalhos do primeiro, mediante as traduções que fez de alguns diálogos platônicos, a partir do testemunho latino de tais obras, no século XV. Interessa também que sejam debatidas questões referentes às especificidades que o tema amor toma ao longo da obra, mostrando de que maneira os interlocutores acreditam ser o amor a motivação, a manutenção e o fim de todas as coisas.The dialogues written by Leone Ebreo in the 16º century evidence how the theme love was an object of philosophical contemplation at the period, and take many from Classical Antiquity authors reflections, citations, references and amplifications, as well from Occident, as much from Orient. Protrude Plato and Aristotle, for Leone Ebreo often inserts them on the discussions promoted by the characters Filo and Sophia, and use their writes as a base for the argumentations about lots of themes adjoin to the main theme. The discussions on this work will be about this two Greek philosophers on the Dialogues of Love and for this much will be add to the reading of the Leo, The Hebrews works another philosopher from the same period: Marsilio Ficino, who possibly influenced Leos works, through translations he made of some platonic dialogues, from the Latin testimony of this works at the 15º century. It is interesting to this work to discuss questions about the specifications that the theme love takes during the Dialogues, and shows how the interlocutors believe that the love is the motivation, maintenance and the end of everything.
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Di, Stefano Martina. "Les interlocuteurs de Socrate dans les Dialogues de Platon." Thesis, Université Grenoble Alpes (ComUE), 2018. http://www.theses.fr/2018GREAP002.
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Durant les dernières décennies, l’attention à la « forme dialogue » a ouvert la voie à un renouvellement radical des études platoniciennes et à un intérêt, quoique limité, aux personnages des Dialogues. Cet intérêt s’est toutefois focalisé presque exclusivement sur Socrate et sur la définition des traits de son personnage. En revanche, on n’a guère orienté les recherches sur les interlocuteurs ; cette thèse vise donc à montrer leur rôle fondamental dans la communauté discursive de six dialogues : Alcibiade Majeur, Charmide, Théétète, Gorgias, République (livres I, II et V), Philèbe. Tout d’abord, certains personnages incarnent les antagonistes de Socrate et « représentent les dimensions culturelles et les nœuds théoriques actifs et présents au sein de la société à laquelle Platon renvoie dans son réexamen critique » (Vegetti). À cet égard, leur présence s’avère importante pour observer comment les Dialogues sont moins l’exposition d’une doctrine que la mise en scène d’un autre rapport au savoir, permettant ainsi de définir a contrario la philosophia. À partir de la liste que Socrate lui-même dresse dans l’Apologie, nous avons dès lors établi une typologie qui oppose les rivaux de Socrate et les jeunes. Au sein de ces deux catégories majeures, nous avons pu apprécier des différences concernant l'âge et l'attitude à l'égard du savoir. Avant d’entamer l’analyse des personnages il a été toutefois nécessaire de définir ce que l’on entend par « interlocuteur ». Les textes montrent en effet de nombreuses nuances dans leur interaction ou leur présence et la définition des traits qui caractérisent les interlocuteurs a été fondamentale pour l'analyse des textes. Les termes ont été groupés en deux catégories : ceux qui identifient les interlocuteurs sur la base de la destination de la conversation (public, auditeurs, spectateurs, présents/absents) et d'autres qui décrivent la relation des interlocuteurs avec Socrate et avec le discours. L'analyse du corpus a été ensuite orientée à partir de la définition du dialogue de Diogène Laërce (Diog. Laer. 3.48.7-11.), qui nous a permis de déceler deux éléments fondamentaux des échanges dialogiques : la pratique discursive, à savoir l’enchaînement des questions et réponses, et la caractérisation des interlocuteurs. Nous avons ainsi pu relever que les traits de caractère et les caractéristiques sociales des interlocuteurs déterminent leur capacité de dialoguer. Cet examen a donc confirmé que la typologie de l’Apologie et le lexique définissant l'interlocuteurs ne restent pas lettre morte dans les Dialogues, mais sont avant tout mis en scène grâce aux interlocuteurs. Enfin, nous avons examiné trois phénomènes discursifs qui entravent le dialogue ou qui ne remplissent pas toutes les conditions de l'échange dialectique : le silence, l'ironie et le recours aux images. Si Platon veut sans doute montrer, à travers ces obstacles, l’impossibilité de « tisser un discours commun en l’absence d’un monde partagé de valeurs » (Fussi), c’est aussi parce qu’il reconnaît que la persuasion philosophique ne saurait s’exercer qu'au-delà de la fiction dialogiqueOver the last decades the attention to the dialogue form has paved the way for a radical renewal of the Platonic studies and for an interest, although limited, in the Dialogues’ characters. The interest has yet been focused almost exclusively on Socrates and the definition of the traits of his character. Instead, too little attention has been paid to his interlocutors; therefore, this thesis aims to show their crucial role in the discursive community of six dialogues: First Alcibiades, Charmides, Theaetetus, Gorgias, Republic (books I, II and V), Philaebus. Firstly, some characters embody Socrates' antagonists and 'represent the cultural dimensions and the theoretical issues alive in the society to which Plato refers in his critical re-examination' (Vegetti). In this respect, their presence is important to observe how the Dialogues are less the exposition of a doctrine than the staging of another kind of relationship to knowledge, thus defining a contrario what philosophia means to him. Starting from the list that Socrates himself sketches in the Apology, I have established a typology that opposes Socrates' rivals and the young people. Within these two major categories, we could appreciate differences in their age and attitude towards knowledge. Before starting to analyze the characters, it was however necessary to define what being an 'interlocutor' means. Indeed, the platonic texts show many nuances in the interaction or presence of the interlocutors and the definition of their features was fundamental for the subsequent analysis of the texts. The terms have been grouped into two categories: one who identify the interlocutors on the basis of the destination of the conversation (audience, listeners, spectators, presents / absents) and another who describe the relationship of the interlocutors with Socrates and to the discourse. The analysis of the corpus was then guided by the definition of the dialogue of Diogenes Laerce (Diog.Lerer 3.48.7-11.), which allows us to detect two fundamental elements of dialogical exchanges: the discursive practice, that is the sequence of questions and answers, and the characterization of interlocutors (ethopoiia). We could observe that the psychological and social ethos of the interlocutors as well as their knowledge of the dialectical rules determine their ability to dialogue. This review has confirmed that the typology of the Apology and the normative definition of the interlocutor proposed by the Dialogues are really staged thanks to the interlocutors. Finally, we have analyzed three discursive phenomena that hinder dialogue or do not fulfill all the conditions of dialectical exchanges: silence, irony and the use of images. Through them Plato probably wants to show the impossibility of 'weaving a common discourse in the absence of a shared world of values' (Fussi), mainly because he recognizes that philosophical persuasion must be addressed beyond the dialogic fiction
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Freitas, Luiz Eduardo Gonçalves Oliveira. "Os elementos dramáticos e literários no Górgias de Platão." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8133/tde-02052017-130742/.
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Platão constrói sua argumentação filosófica no Górgias sobre um pano de fundo dramático intenso, em que Sócrates discute, ao longo de três \"atos\", questões que versam sobre a natureza da retórica, da justiça, da felicidade e do prazer. Sócrates discute com três interlocutores que defendem a prática da retórica; ao levá-los, pela vergonha, à refutação de suas posições, o protagonista do diálogo deslegitima a prática, relacionando-a ao prazer, em detrimento do bem, e defendendo a filosofia como a única prática política legítima. Esta dissertação tem como objetivo analisar o papel dos elementos dramáticos e literários presentes no Górgias. Defendo a tese de que ao considerar a integração entre os procedimentos literários e dramáticos e os argumentos no texto, notada, por exemplo, a partir da centralidade do tema da vergonha, somos capazes de oferecer uma compreensão mais completa sobre a definição da filosofia enquanto boa retórica alternativa.Plato constructs his philosphical argument in the Gorgias upon an intense three-act sctructured dramatic backgroud, in which Sorates discusses questions regarding the natures of rhetoric, justice, happiness and pleasure. Throughout the dialogue, Socrates debates with three interlocutors that defend rhetoric as a social practice. He refutes their positions through shame, deslegitimizes rhetoric by showing its intrisic relation with pleasure and argues that philosophy is the only legitimate and true political pratice. This work intends to analyze the role of the dramatic and literary elements found in the Gorgias. I argue that the integration between literary and dramatic devices and the arguments in the text leads us to a better comprehension about the definition of philosophy as an alternative good rhetoric and its power of acting through shame, which is displayed in the dramatic confrontation between Socrates and his opponents.
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Matos, Júnior Fábio Amorim de 1980. "A contextualização dramatica do Laques e sua relação com a Apologia de Platão." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/281602.
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Orientador: Alcides Hector Rodriguez BenoitDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Conforme retrata Platão na Apologia, o plano de defesa (p???est?) executado por Sócrates possui como núcleo a refutação (??e????) de antigas calúnias (dtaß??a?) contra ele proferidas, em detrimento das acusações que o conduziram a juízo; uma vez que não somente confere o filósofo um maior grau de temeridade àquelas calúnias ¿ em detrimento da ??aF? (acusação escrita) imposta por Meleto ¿ como lhes credita o resultado do julgamento (Apologia 35e-36b). Mas, qual seria a razão para semelhante alusão? Isto é, por que estaria Sócrates convicto de haver refutado a ??aF? que lhe fora imposta e não as antigas acusações? A presente dissertação sustenta que a principal causa desse ¿fracasso¿ assenta-se na impossibilidade de aplicação do ??e????, visto que a ausência de um interlocutor impede a realização da ???t?s?? (processo dialógico), procedimento sem o qual o método utilizado por Sócrates naquele texto faz-se inócuo. Destarte, posteriormente, Platão encontrar-se-ia na iminência de refutar aquelas acusações, contudo, sem utilizar-se para tanto do ??e????. Porém, como dar cabo de semelhante tarefa? Sugere-se que uma tentativa de solução apresentase no Laques, no processo de dramatização que engloba o diálogo. De modo que a ¿contextualização dramática¿ presente nesse texto, longe de constituir-se como reflexo de uma suposta genialidade literária de Platão, seja uma extensão da defesa apresentada na Apologia. Procedimento que possibilitaria uma reabilitação paulatina e propedêutica para Sócrates, e que se fundaria na exaltação ¿ por cidadãos distinguidos de Atenas ¿ das diversas a??ta? (virtudes) do mestre, assim como na crítica ao sistema jurídico vigente (Laques 184d-e). O que permitiu a Platão, em único tempo, ora refutar as calúnias postas na Apologia ¿ suprimindo a carência metodológica do ??e???? ¿ ora reabilitar, perante à pólis, a imagem do mestre injustiçado
Abstract: According to what states Plato in his Apology, the defense plan ((p???est?) executed by Socrates possess as its nucleus the refutation (??e????) of old slanders pronounced against him, to the detriment of the accusations that led him to court. Since it not only grants the philosopher a higher degree of temerity to those slanders ¿ because of the ??aF? (written accusation) imposed by Meletus ¿ but also credits them for the result of the trial (Apology 35e-36b). But what would be the reason for similar allusion? In other words, why would Socrates be convinced of having refuted the ??aF? that had been imposed to him and not the old accusations? This dissertation supports that the main cause of this ¿failure¿ lays on the impossibility of applying the ??e????. Therefore, the absence of a speaker prevents from carrying out the ???t?s?? (dialogic process), procedure without which the method used by Socrates in that text becomes innocuous. Thereby, later on, Plato would find himself in the imminence of refuting those accusations, however, without making any use for that matter of the ??e????. But how to do away with similar task? Is suggested that an attempt of solution presents itself in the Laches, in the process of dramatization that involves the dialogue. In that way, the ¿dramatic context¿ present in the text, far from constituting itself as a reflex of a supposed literary geniality of Plato, is an extension of the defense presented in the Apology. Procedure that would allow a slow and propaedeutic rehabilitation to Socrates, and that would be founded in the exaltation ¿ by distinguished Athens citizens ¿ of the many a??ta? of the master, as well as in the critic to the current legal system (Laches 184d-e). That is what allowed Plato, in a single time, one moment refute those slanders presented in the Apology, suppressing the methodological lack of the ??e????, the next rehabilitate, before the pólis, the image of his injusticed master
Mestrado
Mestre em Filosofia
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Brinker, Wolfram. "Platons Ethik und Psychologie : philologische Untersuchungen über thymetisches Denken und Handeln in den platonischen Dialogen." Frankfurt am Main [u.a.] Lang, 2008. http://d-nb.info/989196879/04.
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Brandwood, Leonard. "The chronology of Plato's dialogues /." Cambridge : Cambridge university press, 1990. http://catalogue.bnf.fr/ark:/12148/cb36656709r.
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Balansard, Anne. "Technè dans les dialogues de platon." Paris 10, 1997. http://www.theses.fr/1997PA100197.
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La question de la techne dans les dialogues de platon n'est pas ignoree de la critique, que la perspective adoptee soit historique (place du concept dans une histoire des techniques et des mentalites), ou philosophique (fonction du concept dans la philosophie platonicienne, et plus particulierement, fonction du paradigme technique dans la fondation de l'ethique socratique). Ces deux perspectives presentent toutefois le meme defaut : la comprehension de la techne dans les dialogues est embarrassee de presupposes modernes sur la technique definie comme processus, procedes methodiques employes a la production d'un objet ou a l'obtention d'un resultat. Or, le concept de techne presente une extension tres differente des concepts modernes de technique ou d'artisanat : il recouvre les "arts liberaux" comme les "arts mecaniques". Une analyse du champ semantique de techne dans les dialogues permet de resaisir le concept dans son usage sophistique. L'empreinte de la sophistique est visible dans la structure du vocabulaire de la techne : dans la presence de substantifs derives d'adjectifs en @@@@ (derives herites de la sophistique), et dans la presence d'une cesure entre le champ de demiourgos (terme qui designe l'artisan) et le champ de techne. Cette enquete semantique conduit a repenser des motifs juges socratiques (l'analogie entre techne et arete) ou platoniciens (le principe de la repartition des taches dans la republique, la techne politique du politique, le demiurge du timee) dans le cadre d'un debat avec la sophistique. Mais c'est aussi la question du s dialogue comme forme et matiere du philosopher qui est posee. Le concept de techne n'est pas le lieu d'une "theorie" socratique ou platonicienne : c'est un concept dialogique (objet de discours parce que principe de pouvoir pour l'interlocuteur du philosophe); c'est un concept dialectique (que le philosophe s'approprie par l'elenchos ou l'entreprise de definition). La techne s'avere dans l'oeuvre du dialogueCritics are known to show an interest in the subject of techne in the platonic dialogues : on the one hand, as a concept for the history of techniques; on the other hand, as a concept effective in plato's philosophy, mainly in the socratic method and moral theory (the craft-analogy). But these critics both confuse the concept of techne with the modern concept of "craft", that is to say, a rational and explicable process resulting in an object separate. This misconception justify a new analysis of the vocabulary of techne in the platonic dialogues. Techne means "liberal arts" as well as "crafts". Moreover, the stucture of the vocabulary of techne bears the mark of its sophistic use. This sophistic mark lead us to another approach to the problem of techne in the platonic dialogues. First, the craft-analogy is not constitutive of socrates' moral theory : the craft of virtue is part of the elenchos. Second, some platonic features (the techne of politics in the politicus, the division of labour in the republic, the demiurge in the timaeus) are to be understood as new definitions of sophistic features
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Rodriguez, Evan. "Making sense of Socrates in a dialogue of contradictions studies in Plato's Protagoras /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1439.
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Ortega, Manez Maria. "Mimèsis en jeu. Une analyse de la relation entre théâtre et philosophie." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040170.
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Théâtre et philosophie présentent au long de leur histoire des modes d’interaction divers. L’approche privilégiée est ici l’analyse de la querelle qui opposa, au Ve siècle av. J.-C. en Grèce, deux de leurs représentants : Aristophane et Platon. Une analyse des œuvres qui véhiculent leurs attaques respectives permet de dégager les enjeux de cet affrontement ainsi que d’en mesurer la portée. Depuis cette perspective, la notion de mimèsis apparaît mise en jeu : terme d’origine théâtrale et portant essentiellement le sens du « jeu » de l’acteur, la mimèsis est utilisée par Platon comme l’argument majeur de sa critique de la poésie, autant que comme point d’articulation entre les deux mondes de son ontologie. La seconde partie de notre entreprise est consacrée à l’étude de l’élaboration platonicienne de ce concept dans la République. Cette synthèse est également opérée sur un plan littéraire par le dialogue en tant que forme d’écriture à la croisée entre philosophie et théâtre, que l’on aborde à travers l’étude des dialogues de Platon de ce double point de vue. On parvient ainsi à montrer, à partir des éléments analysés, qu’au cœur de l’opposition entre philosophie et théâtre s’ancre une liaison profonde, dont la nature contradictoire n’aura cessé de se manifester par la suite à travers le problème philosophique et le paradigme théâtral de la représentationTheatre and philosophy present diverse modes of interaction throughout their history. In order to interrogate their relationship, this investigation will focus on the analysis of the quarrel which, in the fifth century B.C. in Greece, opposes two of their representatives, Aristophanes and Plato. An analysis of the works that launch their respective attacks will enable us to reveal the stakes of this confrontation, as well as to evaluate their impact. From this perspective, the notion of mimèsis appears at stake but also « at play » – hence, it is en jeu: term of theatrical origins which essentially contains the meaning of the actor’s « play », mimèsis comprises not only the central argument of Plato’s critique of poetry, but furthermore, the articulation point between the two worlds of his ontology. The second part of our research is dedicated to the study of Plato’s elaboration of this concept in the Republic. This synthesis is also operated on a literal level by the dialogue as a writing form at a crossroads between philosophy and theatre, which we will approach through the examination of Plato’s dialogues from this double point of view. Taken together the different elements of our analysis reveal that, at the heart of their opposition, lies a deep bound whose contradictory nature has not ceased to manifest itself in the philosophical problem and the theatrical paradigm of representation
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Lee, Hangyoo. "Die sophistische Rechtsphilosophie in den platonischen Dialogen Protagoras, Theaitetos und Gorgias Protagoras, Hippias von Elis, Gorgias, Polos, Kallikles /." [S.l. : s.n.], 2005. http://www.bsz-bw.de/cgi-bin/xvms.cgi?SWB11675447.
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Pereira, Filho Gerson. "Historicidade nos dialogos de Platão." [s.n.], 1999. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279548.
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Orientador: Alcides Hector Rodriguez BenoitDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
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Resumo: Não informado
Abstract: Not informed.
Mestrado
Mestre em Filosofia
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Viangalli, Pierre. "Le sérieux et le jeu dans les dialogues de Platon." Paris 1, 2005. http://www.theses.fr/2005PA010711.
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Dans les dialogues de Platon, loin de s'opposer, le sérieux et le jeu se conjuguent de façon variée. L'importance de ces contraires apparaît lorsqu'on voit comment ils permettent de distinguer la philosophie comme genre de vie et comme manière de penser et de parler. En assumant les risques inévitables qu'elle prend, la philosophie élabore un type de jeu sérieux.
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Balansard, Anne. "Technè dans les "Dialogues" de Platon : l'empreinte de la sophistique /." Sankt Augustin : Academia Verl, 2001. http://catalogue.bnf.fr/ark:/12148/cb37711155j.
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Hsu, Hsei-Yung. "Just state and just man : a dialogue between Plato and Confucius." Thesis, University of Glasgow, 1998. http://theses.gla.ac.uk/2609/.
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In this thesis, I propose to explore Plato's moral and political thought in the Republic and compare it with similar ideas in Confucian thought, and in modern liberal thought. In Part I, I deal with Plato's notion of 'doing one's own job' in the just state (ch. 1), and with the Confucian approach to achieving an orderly society (ch. 2). In Chapter 3 the idea that both the Platonic just state and Confucian orderly society are communitarian by nature will be discussed. It is noticeable that although both Plato's and Confucius' accounts of the just state have the colour of communitarianism, yet their accounts are in one way or another different from the modern communitarian's account of the just state. In addition, there are also important differences between Plato and Confucius. Take the relation between personal good and the common good as an example. Both Plato and Confucius hold that in the ideal state one's own good is identical with the good of the state as a whole. But communitarians hold that the common good is prior to personal good. That is, for the communitarians, there is a distinction between personal good and the common good (Section 3). In Part II, I shall consider a problem which arises from the discussion of Plato's notion of the tripartite soul that there is a sub-division in each part of the soul, which leads to infinite regress. I argue in Chapter 4 that this problem can be avoided. So long as there is no 'degree of rationality' among the three parts. That is, only reason is capable of calculating, and the other two parts do not have the capacity of reasoning. This account of the tripartite soul makes sense of why Plato puts such strong emphasis on education. For through education, spirit and appetite are willing to be under the control of reason.
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Charalabopoulos, Nikolaos. "The stagecraft of Plato : the Platonic dialogue as metatheatrical prose drama." Thesis, University of Cambridge, 2001. https://www.repository.cam.ac.uk/handle/1810/272291.
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Scarbrough, David. "Desire, dialogue, and the highest good : a comparative study of the Bhagavad Gītā and Plato's Euthyphro and Symposium." Thesis, University of Wales Trinity Saint David, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683193.
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Gabor, Octavian. "Dialogical Writing in Philosophy and Literature. A Study on Plato's Crito and Gorgias and Peacock's Nightmare Abbey." Thesis, Virginia Tech, 2002. http://hdl.handle.net/10919/36008.
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Both Thomas Love Peacock and Plato use dialogue for their works while they differ in what they envisage and what they achieve, i.e. same form, different objectives. Thus, having Peacock and Plato writing dialogues in different frames - one literary and one philosophical - raises an important question: can literary writers be more provocative of thought in the audience than writers of philosophical dialogues? If so, what then are the features of dialogical writing, whether literary or philosophical, or common features that pertain to both these fields, that cause it to be respectful or nurturing to the minds that encounter it?
This question will underlie the whole paper. It actually comes from the fact that in dialogue, whether deployed in philosophical or literary texts, we do not see the author's opinion clearly expressed. In dialogue, and this is often true for Plato, the author's dogma loses itself under the various dogmas that the characters have; the author hides himself behind his personages. The readers do not encounter only one mind that has claims of revealing a truth - the philosophical approach - or that lays out a story - the literary one. In dialogue, the reader finds an ongoing discussion and becomes part of it. Through the analysis of two of Plato's dialogues, the Crito and the Gorgias, and Peacock's satirical novel, Nightmare Abbey, I intend to show that, used in philosophy or literature, dialogue seems to be the perfect tool to communicate the idea that once expressed becomes its negative: the only thing that we know is that we do not know anything.Master of Arts
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Rehbinder, André. "Le Dialogue des langues. Style, énonciation et argumentation dans la première partie du Phèdre de Platon." Thesis, Paris 4, 2017. http://www.theses.fr/2017PA040145.
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La présente étude se fonde sur le postulat que le style de Platon dans le Phèdre entretient un lien nécessaire avec le contenu, que le style crée le contenu. Elle s’efforce de montrer que la description de ce lien suppose de prendre en compte les aspects énonciatifs de l’œuvre, c’est-à-dire à la fois la situation d’énonciation dans laquelle s’inscrit chaque réplique et la façon dont l’auteur s’adresse au lecteur. En effet, se fondant sur la notion bakhtinienne de dialogisme, elle définit la fonction du style par le fait d’orchestrer une pluralité linguistique : Platon représente différentes langues à l’intérieur du dialogue, la langue poétique, la langue technique des orateurs, ou encore la langue des philosophes qui l’ont précédé, et les met en dialogue, les confronte, créant ainsi une nouvelle conception de l’objet du dialogue, le discours d’abord, l’âme amoureuse ensuite. La situation d’énonciation révèle le travail sur le matériau linguistique et permet la mise en dialogue des différentes langues, tantôt en les distribuant entre différents personnages, qui deviennent chacun une source de sens pour les termes employés, tantôt en ajoutant au contexte immédiat dans lequel s’insère le mot un contexte large, qui demande, pour le même mot, un sens différent de celui qui est cohérent avec le contexte immédiat. En outre, certaines particularités de la situation d’énonciation remettent en cause les présupposés sur lesquels se fonde la compréhension d’un énoncé, notamment le principe de non-contradiction : ces particularités ne doivent pas être effacées, elles correspondent selon nous à l’intention de Platon et constituent des énigmes interprétatives qu’il pose au lecteurThis study is based on the thesis that Plato’s style in the Phaedrus creates the content. The study attempts to show that in order to describe this interaction one has to take into consider the enunciative aspects of the text, that is the enunciative situation into which every phrase subscribes and the way the author addresses to the reader. In fact, based on Bakhtin’s notion of the dialogism, our work defines the function of the style by the means of orchestrating a linguistic plurality: Plato presents different languages inside the dialogue, such as the poetic language, the orators’ technic language or also the language of the philosophers who had preceded him; he makes them interact and confront between them, creating by this a new concept of the dialogue’s object, i.e. the speech and the enamoured soul. The enunciative situation reveals the work done on the linguistic material and permits to implement the dialogue between different languages either by attributing these languages to different characters, who become themselves a source of the sense for the terms employed, or by adding to the word’s immediate context a much larger context who demands, for the same word, a new sense different from the one who is coherent with the immediate context. In addition, some particularities of the enunciative situation question the assumptions on which is based the understanding of any statement, in particular, the principle of non-contradiction : according to our theory, these particularities shouldn’t be erased, they correspond to Plato’s intention and form the interpretative riddles that Plato addresses to the reader
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Mouroutsou, Georgia. "Die Metapher der Mischung in den platonischen Dialogen Sophistes und Philebos." Sankt Augustin Academia-Verl, 2006. http://d-nb.info/1001112059/04.
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Piettre, Bernard. "Les mathématiques et l'idée de Bien dans les dialogues de Platon." Paris 1, 2003. http://www.theses.fr/2003PA010534.
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L'objet principal de ce travail est de déterminer : 1ʿ Comment Platon en est venu à associer les mathématiques à la recherche du Bien, alors que pour Socrate la recherche du Bien relève d'un savoir, mais non d'un savoir technique comme celui des mathématiques 2ʿ Pourquoi et comment Platon place la dialectique au-dessus des mathématiques dans la recherche du Bien. 3ʿ Pourquoi et comment Platon est resté fidèle à la doctrine du Phédon et de la République dans les derniers dialogues, tout en accordant aux mathématiques la vertu de réaliser dans le monde, de la meilleure façon possible, sa participation au royaume des Formes intelligibles.
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Kim, Iouseok. "Les attitudes émotionnelles des interlocuteurs dans les premiers dialogues de Platon." Paris 1, 2007. http://www.theses.fr/2007PA010604.
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Cette thèse porte sur quelques aspects dramatiques des premiers dialogues de Platon, plus précisément, les attitudes émotionnelles des interlocuteurs. Dans les dialogues, les interlocuteurs de Socrate ne cessent d'éprouver diverses émotions au cours de l'examen moral. C'est par leurs réactions émotionnelles que l'examen philosophique est rendu plus riche et plus visible. Du fait que le Socrate des premiers dialogues s'occupe exclusivement de la question morale, on peut supposer que les personnages dramatiques représentent la conception conventionnelle de la moralité de l'époque. Les émotions de chaque interlocuteur nous permettent de voir son adhésion aux divers domaines moraux comme l'éducation, la politique, la religion, etc. En convoquant des personnages concrets et vifs au champ de l'examen élenctique, Platon arrive à rendre plus visible et plus vive sa critique morale de la moralité populaire. Le recours aux discours argumentatifs ne suffit pas pour montrer la possibilité de l'avènement d'une philosophie morale. Au lieu de systématiser son projet moral de manière architectonique, Platon semble alors utiliser le caractère dramatique afin de mettre en lumière son idée morale fondée sur la réflexion rationnelle. C'est exactement là que se· trouve la fonction philosophique des éléments dramatiques des premiers dialogues.
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Marouani, Ahmed. "Dieu, la nature et l'homme dans les derniers dialogues de Platon." Nice, 2001. http://www.theses.fr/2001NICE2048.
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Dans cette thèse, j'ai essayé une lecture platonico-platonicienne des questions de Dieu, de la nature et de l'homme dans les derniers dialogues de Platon : le Timée, le Critias, le Philèbe et les Lois. Cette lecture cherche l'aide dans les écrits mêmes de Platon avant qu'elle ne la sonde dans les interprétations et les commentaires des autres. Une compréhension qui confronte les textes contradictoires pour comparer et définir l'idée recherchée sans escamoter ces différences ou les éliminer, parce qu'elle croit à une évolution interne de cette philosophie et à un dépassement de Platon lui-même à travers ses écrits. L'essentiel, pour Platon dans ces écrits et en ce qui concerne notre recherche, ce n'est pas d'avoir un Dieu mais c'est de savoir le sauver par toutes les preuves possibles qu'elles soient cosmothéologique, onthothéologique ou meême profanes, que la connaissance de Dieu est tributaire de la compréhension du joyau divin offert aux hommes : la nature, qu'une place importante est taillée à une nouvelle entité, problématique voire embarrassante : la chôra, celle-ci jouera la fonction d'intermédiare dans la jonction de l'intelligible au sensible. Ce qui allait donner des arrière-fonds épistémologiques, théologiques e surtout éthiques à une nouvelle philosophie de l'homme, où l'éducation vise l'équilibre aussi bien interne qu'externe de l'homme, c'est-à-dire son unité au sens large du terme, qui devient le fondement de la philosophie platonicienne et surtout de son anthropologie. Je peux dire grosso modo que dans cette Thèse, j'ai démontré que Platon, dans ses derniers écrits, a voulu que les lois deviennent des croyances, que l'homme devienne Dieu sur terre et que la cité soit une nature humanisée.
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Sun, Yu-Jung. "Ψεῦδος : nature et usages du faux dans les Dialogues de Platon." Thesis, Paris 1, 2020. http://www.theses.fr/2020PA01H212.
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Dans la République, le poète est condamné sans appel et expulsé de la cité pour avoir introduit la fausseté dans l’âme des citoyens à l’aide d’images. Or, dans ce dialogue, comme dans tous les autres, Platon n’hésite jamais à produire lui-même des images, en créant des mythes et des personnages imaginaires. « Parler par images » (δι’ εἰκόνων λέγειν), ou par ce qui semble être sans être, est ainsi le point de convergence et le point de divergence entre Platon et les poètes. Comment comprendre alors cette double attitude de Platon que l’on retrouve dans ses critiques du faux et dans les usages qu’il en fait dans les dialogues ? Comment le faux, en faisant naître le non-être, dispose-t-il d’une telle puissance sur l’âme, capable d’orienter celle-ci tantôt vers la vérité, tantôt vers un monde d’illusions où elle se réjouit de ce qui n’a aucun moyen d’exister ?In the Republic, the poet is condemned without appeal and expelled from the city for introducing falsehood into the souls of the citizens through images. However, in this dialogue, as in all the others, Plato never hesitates to produce images himself by inventing imaginary myths and characters. "Speaking through images" (δι ’εἰκόνων λέγειν), or through what seems to be without being, is the point of convergence and the point of divergence between Plato and the poets. How should one understand this double attitude that we find in his criticisms on falsehood and the usages of it that he makes in the dialogues? How does falsehood, by giving birth to non-being, have such a power to orient the soul either toward the truth, or toward a world of illusions where it takes pleasure with what has no way to exist?
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Stemmer, Peter. "Platons Dialektik : die frühen und mittleren Dialoge /." Berlin : W. de Gruyter, 1992. http://catalogue.bnf.fr/ark:/12148/cb357126776.
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El, Murr Dimitri. "Contrainte et cohésion : la notion de lien dans les Dialogues de Platon." Paris 1, 2005. http://www.theses.fr/2005PA010699.
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Cette thèse vise à déterminer la notion de lien selon une approche philosophique (le lien est un équilibre entre contrainte et cohésion), une approche sémantique examinant certains termes ! grecs utilisés pour décrire l'entrave et l'unification, et une approche historique montrant qu'avant Platon le lien est uniquement pensé comme entrave. L'originalité de l'analyse platonicienne est de souligner la force aliénante de certains liens dont il faut se délier et d'en déterminer d'autres indispensables à l'unification de multiplicités (l'âme, la cité, le monde). On peut distinguer: l'entrave qui enchaîne l'âme au corps et qui est l' œuvre du désir (orienté vers les réalités de l'ordre du devenir) et entretenue par certaines puissances aliénantes; les liens unifiants (harmonie, communauté, tissage, proportion) qui tiennent leur puissance du Bien; le lien de parenté (suggeneia) qui relie l'âme à l'intelligible, comme l'intelligible à lui-même. Ce lien, révélé par la puissance d'erôs et de la réminiscence, constitue la condition de possibilité des précédents, tout comme l'entrelacement des Formes entre elles constitue celle du logos dialectique.
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Renaut, Olivier. "Le thumos dans les Dialogues de Platon : réforme et éducation des émotions." Paris 1, 2007. http://www.theses.fr/2007PA010680.
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Cette étude vise à détetminer le rôle des émotions dans la définition, l'acquisition et l'exercice de la vertu dans les Dialogues de Platon. Le thum6s apparaît chez Homère, mais aussi dans d'autres textes littéraires, scientifiques et philosophiques avant Platon, comme le pilier d'un système de valeurs et de représentations sur la vertu, dont le courage est le paradigme. Platon s'inspire de cet héritage, le critique et le recompose. Platon fait du thum6s une fonction de l'âme qui est intermédiaire en trois sens: il est l'instrument subjectif de médiation entre la norme consacrée par une communauté donnée et la règle de l'action; il est objectivement la faculté qui permet à la raison de donner force à ses prescriptions contre les désirs, et enfin l'interface entre l'âme et le corps qu'elle habite. Platon peut ainsi édifier sur la base de son anthropologie une politique soucieuse de l'éducation des émotions, afin de promouvoir dans les caractères individuels des dispositions à la vertu.
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Bergeron, Martin. "Le lien entre l'induction et la définition dans les dialogues socratiques de Platon." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0018/MQ43764.pdf.
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Guéniot, Philippe. "Le jeu platonicien : nature et fonction du ludique dans les Dialogues de Platon." Poitiers, 1998. http://www.theses.fr/1998POIT5003.
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Gavray, Marc-Antoine. "Sophistique et philosophie : l'influence de Protagoras sur la constitution des Dialogues de Platon." Paris 1, 2008. http://www.theses.fr/2008PA010574.
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Cette thèse étudie comment Platon pratique une stratégie de réappropriation à l'égard de questions et de doctrines utiles à l'élaboration de sa pensée et de son questionnement propres, à partir d'une confrontation avec la pensée de Protagoras, sur des questions d'ordre politique, moral, anthropologique et, surtout, épistémologique. Dans la première partie, j'établis de quelle façon le sophiste entraîne Platon, à partir de la question du relativisme et de l'absence de référence stable, sur la voie de la première définition du concept de mesure, dont je tâche de dresser les contours platoniciens à partir du Protagoras, du Thééète, du Politique, du Philèbe et des Lois. Dans la seconde partie, je tire les conséquences de ce projet dans les limites d'une vaste clarification de la signification des concepts structurants de la philosophie, et de la pensée en général (l'identité et la différence, l'un et le multiple, le semblable et le dissemblable), entreprise par Platon.
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Brinker, Wolfram. "Platons Ethik und Psychologie philologische Untersuchungen über thymetisches Denken und Handeln in den platonischen Dialogen." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2004. http://d-nb.info/989196879/04.
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Longoria, Mari´a Teresa Padilla. "Philosophy as dialogue : Plato and the history of dialectic (with special reference to the sophist)." Thesis, Durham University, 2000. http://etheses.dur.ac.uk/4475/.
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The connecting thread of this thesis is the idea that philosophy is essentially dialectical or a matter of conversation. Plato's idea of philosophy plays a pivotal role insofar as one of his main preoccupations throughout his work is to define the essence of philosophy. For him philosophy and dialectic are interchangeable terms. Plato's idea of dialectic is that of a philosophical conversation. This is not a judgement that is accepted by many other philosophers; I consider objections that Aristotle, Descartes and Husserl address to this idea of the nature of philosophy. In the first main part I discuss the etymology and origins of the word dialectic and its possible literary antecedents in Greek epic, lyric and tragedy. I then offer, in the second part, a historical approach to the philosophical roots of dialectic with the aim of grasping its genesis and evolution. I deal with the different ancient ideas of dialectic as represented by the figures of Plato, Aristotle, Zeno (and some Sophists), and the Stoics, then moving on to the medieval understanding of dialectic. Finally I describe its modem versions through representative figures such as Kant, Hegel, Marx and Engels. Finally, in the third part, I turn to the Socratic-Platonic understanding of dialectic. In this part I discuss the nature of the Socratic-Platonic method and some different perspectives on Platonic dialectic. As a test case, and especially with the aim of showing how dialectic operates in Plato, and how he contrasts the figures of the Philosopher and the Sophist I focus on the Sophist.