Siga este link para ver outros tipos de publicações sobre o tema: Plato – Fiction.
Artigos de revistas sobre o tema "Plato – Fiction"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Plato – Fiction".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Laird, Andrew. "Ringing the changes on Gyges: philosophy and the formation of fiction in Plato's Republic". Journal of Hellenic Studies 121 (novembro de 2001): 12–29. http://dx.doi.org/10.2307/631825.
Texto completo da fonteResumo:
AbstractGlaucon's story about the ring of invisibility in Republic 359d-60b is examined in order to assess the wider role of fictional fabrication in Plato's philosophical argument. The first part of the article (I) looks at the close connections this tale has to the account of Gyges in Herodotus (1.8-12). It is argued that Plato exhibits a specific dependence on Herodotus, which suggests Glaucon's story might be an original invention: the assumption that there must be a lost ‘original’ to inspire Plato's story of the ring has never accommodated the possibility of Plato drawing, perhaps quite directly, from Herodotus. The next section (II) considers the function of that fable within the larger philosophical and aesthetic structure of the Republic. Appreciation of the entire dialogue as an exercise in fiction, as well as philosophy, helps to reveal the ways in which philosophical argument and fictional invention are closely bound up in the formation of Glaucon's fabulous anecdote. Finally (III), a reading of Cicero's treatment of the story in De Officiis confirms the degree to which philosophical reasoning and fiction can be quite generally interdependent. Although the arguments in Sections II and III are consistent with the opening contention that the ring story was invented by Plato, they do not presuppose it.
2
Panagopoulos, Nic. "Utopian/Dystopian Visions: Plato, Huxley, Orwell". International Journal of Comparative Literature and Translation Studies 8, n.º 2 (30 de março de 2019): 22. http://dx.doi.org/10.7575/aiac.ijclts.v.8n.2p.22.
Texto completo da fonteResumo:
This paper attempts to theorize two twentieth-century fictional dystopias, Brave New World (2013) and Nineteen Eighty-Four (1984), using Plato’s political dialogues. It explores not only how these three authors’ utopian/dystopian visions compare as types of narrative, but also how possible, desirable, and useful their imagined societies may be, and for whom. By examining where the Republic, Brave New World, and Nineteen Eighty-Four stand on such issues as social engineering, censorship, cultural and sexual politics, the paper allows them to inform and critique each other, hoping to reveal in the process what may or may not have changed in utopian thinking since Plato wrote his seminal work. It appears that the social import of speculative fiction is ambivalent, for not only may it lend itself to totalitarian appropriation and application—as seems to have been the case with The Republic—but it may also constitute a means of critiquing the existing status quo by conceptualizing different ways of thinking and being, thereby allowing for the possibility of change.
3
Rapisarda, Massimo. "Atlantis: A Grain of Truth Behind the Fiction?" Heritage 2, n.º 1 (22 de janeiro de 2019): 254–78. http://dx.doi.org/10.3390/heritage2010018.
Texto completo da fonteResumo:
The legend of Atlantis was almost certainly invented by Plato to promote the political ideal of his masterwork The Republic, while praising the heroism of his own ancestors. This paper suggests that, in assembling the story, Plato might have reworked the myth of the foundation of Egypt—attributed to divine invaders bringing agriculture and unknown technologies to the country—and popularized in Greece through the writings of Herodotus. The key issue explored is the curious coincidence between the period of the alleged foundation of Egypt (according to traditional Egyptian sources) and some remarkable events that characterized the end of the Ice Age. Indeed, besides the sudden increase in temperature and the consequent rise in sea level, the period was also marked by the birth of agriculture and the appearance of totally new technologies in diverse Near Eastern locations. The memory of these events would have been handed down through the myth of the foundation of Egypt, and through this, to Greek culture, enabling Plato to exaggerate the antiquity of his noble ancestors, while embellishing the characteristics of the invaders. Such occasional technological leaps may also have occurred elsewhere in the world, for instance on the deltas of the Indus or the Yangtze, driven by the same change in climate that affected the whole planet. Although today there is no archaeological evidence of such events besides in the Near East, the article suggests that the possible discovery of obsidian in a submerged site would be a strong indication of a local technological leap. To this end it examines, as a Mediterranean example, some flooded islands in the Strait of Sicily, which, lying on the route to Pantelleria, may retain traces of ancient obsidian exploitation.
4
Williams, Emma. "MORALS TO MATHS: COETZEE, PLATO AND THE FICTION OF EDUCATION". British Journal of Educational Studies 67, n.º 3 (3 de julho de 2019): 371–87. http://dx.doi.org/10.1080/00071005.2019.1651249.
Texto completo da fonte
5
Serebruany, Victor L. "Aspirin Dose and Ticagrelor Benefit in PLATO: Fact or Fiction?" Cardiology 117, n.º 4 (2010): 280–83. http://dx.doi.org/10.1159/000324064.
Texto completo da fonte
6
Jennifer A. Rea. "From Plato to Philip K. Dick: Teaching Classics Through Science Fiction". Classical Journal 105, n.º 3 (2010): 265. http://dx.doi.org/10.5184/classicalj.105.3.265.
Texto completo da fonte
7
Rea, Jennifer A. "From Plato to Philip K. Dick: Teaching Classics Through Science Fiction". Classical Journal 105, n.º 3 (2010): 265–75. http://dx.doi.org/10.1353/tcj.2010.0040.
Texto completo da fonte
8
Gunderson, Erik. "The Morosophistic Discourse of Ancient Prose Fiction". Journal of Latin Cosmopolitanism and European Literatures, n.º 1 (12 de junho de 2019): 56–80. http://dx.doi.org/10.21825/jolcel.v0i1.8250.
Texto completo da fonteResumo:
This essay explores a set of connections between philosophy and prose fiction. It combines a somewhat Foucauldian outlook on the question of genealogical filiation with a Bakhtinian interest in polyphony and heteroglossia. This is an overview of the various possibilities for the emplotment of the story of knowledge. The structural details of these plots inform the quality of the knowledge that eventuates from them. In coarse terms, I am asking what it means to insist upon the novelistic qualities of Plato while simultaneously thinking about the Platonic qualities of novels. This highly selective survey starts with classical Athens, touches upon Plutarch and Lucian, and then lingers with narrative prose fiction more specifically by examining the texts of Chariton, Achilles Tatius, Heliodorus, Apuleius, and Petronius.
9
Abdelbaky, Ashraf. "A Perfect World or an Oppressive World: A Critical Study of Utopia and Dystopia as Subgenres of Science Fiction". SMART MOVES JOURNAL IJELLH 4, n.º 3 (28 de março de 2016): 17. http://dx.doi.org/10.24113/ijellh.v4i3.1201.
Texto completo da fonteResumo:
In this article, I investigates the concept of utopia and dystopia in literature since the time of Plato and Thomas More and how it became a significant subgenre of science fiction. I present the kinds of utopia and its fundamental purposes as well as the different explanations for the term utopia and dystopia by numerous critics. I stress the function of science fiction as a literary tool to depict the grim picture and the weaknesses of current societies, dystopias, and to provide a warning for the future of these societies by presenting alternative peaceful societies; utopias. Therefore, I seek to investigate how utopian writings play a central role in uncovering the shortcomings of societies and presenting a formative criticism towards them. I also discuss how utopia and dystopia give women the chance to present their feminist demands using science fiction.
10
Emlyn-Jones, C. "Dramatic structure and cultural context in Plato's Laches". Classical Quarterly 49, n.º 1 (maio de 1999): 123–38. http://dx.doi.org/10.1093/cq/49.1.123.
Texto completo da fonteResumo:
The characters in Plato's Socratic Dialogues and the sociocultural beliefs and assumptions they present have a historical dramatic setting which ranges over the last quarter of the fifth century b.c.—the period of activity of the historical Socrates. That this context is to an extent fictional is undeniable; yet this leaves open the question what the dramatic interplay of (mostly) dead politicians, sophists, and other Socratic associates—not forgetting Socrates himself—signifies for the overall meaning and purpose of individual Dialogues. Are we to assume, with a recent study, that Plato is entirely concerned with his contemporary world and is, as it were, borrowing his characters from the fifth century, or does the fiction reveal something of his real involvement in the values and debates of the recent past? The aim of this paper is to argue that a detailed study of the characterization and dramatic structure of one particular Dialogue, Laches, strongly suggests that Plato is using a perceived tension between past and present to generate not only a philosophical argument but also a commentary on the cultural and political world of late fifth-century Athens and in particular Socrates’ position within it.
11
Parma, Lorena Rojas. "The Fiction of the Beautiful: Digital Eros". Dialogue and Universalism 29, n.º 2 (2019): 81–88. http://dx.doi.org/10.5840/du201929223.
Texto completo da fonteResumo:
Love has always liked, as we can observe since the same lyrical beginnings, to show itself, proclaim itself, as if something vital was played in that revelation that, in a certain sense, does not stop being strange because we are talking about deep experiences of each one’s soul. Now, that showing, which has found a place of privilege, must be thought under the digital cloak that dresses Eros, and think about it, then, as digital Eros. From Plato, Eros is a desire for the beautiful, Eros loves the beautiful. Therefore, the showing itself beautiful of love, requires a reflection in relation with how we show ourselves beautiful, that is, how the possibilities of networks allow us to make, sculpt, elaborate for that purpose. Finally, this implies a revision of the fictitious and the authentic of us, what the networks allow of us.
12
Magerstädt, Sylvie. "Tall Tales—Myth and Honesty in Tim Burton’s Big Fish (2003)". Humanities 11, n.º 6 (31 de outubro de 2022): 138. http://dx.doi.org/10.3390/h11060138.
Texto completo da fonteResumo:
Questions about the relationship between truth and fiction have a long history in philosophical thinking, going back at least as far as Plato. They re-emerge in more recent philosophical debates on cinema and are powerfully illustrated in Tim Burton’s 2003 film Big Fish, which narrates the story of Edward and his son Will, who tries to uncover the truth behind his father’s tall tales. Will’s desire for honesty—for facts rather stories—has led to a considerable rift between them. While the film extols the beauty of storytelling and the power of myth, it also raises questions about the relationship between honesty and myth, fact and fiction. This article explores these themes from a multidisciplinary perspective by drawing on diverse sources, including Friedrich Nietzsche’s Vom Nutzen und Nachteil der Historie für das Leben/On Truth and Lies in an Nonmoral Sense (1873), contemporary philosophical writings on fiction, the virtues of truthfulness, honesty and sincerity, as well as ideas on memoir and creative life writing drawn from literary studies. Overall, it argues for the positive, creative potential of storytelling and defends the idea that larger truths may often be found behind embellished facts and deceptive fictions. The final section expands this discussion to explore cinema’s power to create what Nietzsche called ‘honesty by myth’. Through the variety of background sources, the article also aims to demonstrate how ideas from multiple disciplinary contexts can be brought together to stimulate fruitful conversations on cinema, myth and the power of storytelling.
13
Dainotto, R. M. "With Plato in Italy: The Value of Literary Fiction in Napoleonic Italy". Modern Language Quarterly 72, n.º 3 (1 de janeiro de 2011): 399–418. http://dx.doi.org/10.1215/00267929-1275181.
Texto completo da fonte
14
Peralta, Camilo. "Philosopher Hero in Ray Bradbury’s Science Fiction". New Ray Bradbury Review, n.º 7 (27 de agosto de 2023): 77–86. http://dx.doi.org/10.18060/26463.
Texto completo da fonteResumo:
Though he apparently disliked the label, Ray Bradbury is still remembered as one of the preeminent science fiction writers of the 20th century. What he is not as well known for, and what I focus on in this paper, is the author’s interest in classical philosophy, as evidenced by the frequent references to Plato, Aristotle, and other Greek and Roman thinkers scattered throughout his works. Specifically, I will explore the treatment of ethical behavior and the pursuit of happiness in some of his best-known science fiction, including Fahrenheit 451, The Martian Chronicles, and several short stories. With remarkable learning and insight, Bradbury scrutinizes the Platonic and Aristotelian notions of happiness, arguing that good behavior is grounded in virtues such as wisdom, courage, and creativity. Many of his protagonists embody a kind of heroism based on the model of the Socratic “gadfly,” courageously challenging their contemporaries’ values and belief system, and eventually being punished for their determination to do so. Finally, he uses the dystopian setting of Fahrenheit 451 to explore the disastrous consequences of attempting to organize society along strictly utilitarian lines. What emerges in Bradbury’s science fiction is a thoughtful—and remarkably consistent—philosophical worldview reflecting many of the humane values the author frequently espoused in interviews and letter, and which served as guiding principles in his own life.
15
Papamarinopoulos, S. P. "ATLANTIS IN SPAIN II". Bulletin of the Geological Society of Greece 43, n.º 1 (19 de janeiro de 2017): 108. http://dx.doi.org/10.12681/bgsg.11165.
Texto completo da fonteResumo:
Plato, who lived in the 4th century B.C., wrote the dialogue Timaeos and Critias when he was 52 years old. In this he describes a catastrophe in Athens from an earthquake in the presence of excessive rain. He also describes several details, not visible in his century, in the Acropolis of Athens. These details are a spring and architectural details of buildings in which the warriors used to live. In Critias he mentions that the destruction of the spring was caused by an earthquake. The time of the catastrophe of Atlantis was not defined by him but it is implied that it occurred after the assault of the Atlantes in the Mediterranean. Archaeological excavations confirmed the existence of the spring which was about 25 m deep with respect to the present day walking level. Archaeologically dated ceramics, found at its bottom, denote the last function of the spring was in very early 12th century B.C. Plato describes the warriors’ settlements which were found outside of the fortification wall in the North East of the Acropolis. The philosopher, who was not a historian, describes a general catastrophe in Greece from which the Greek language survived till his century. Archaeological studies have offered a variety of tablets of Linear B writings which turn out to be the non-alphabetic type of writing of the Greeks up to the 12th century B.C. before the dark ages commence. Modern geoarchaeological and palaeoseismological studies prove that seismic storms occurred in the East Mediterranean between 1225 and 1175 B.C. The result of a fifty-year period of earthquakes was the catastrophe of many late Bronze Age palaces or settlements. For some analysts both Athens and Atlantis presented in Timaeos and Critias are imaginary entities. They maintained that the imaginary conflict between Athens and Atlantis served Plato to produce the first world’s “science fiction” and gave the Athenians an anti-imperialistic lesson through his fabricated myth. However, a part of this “science fiction”, Athens of Critias, is proved a reality of the 12th century B.C., described only by Plato and not by historians, such as Herodotus, Thucydides and others. Analysts of the past have mixed Plato’s fabricated Athens presented in his dialogue Republic with the non-fabricated Athens of his dialogue Critias. This serious error has deflected researchers from their target to interpret Plato’s text efficiently.
16
BOLAÑOS, KRISTOFFER A. "Plato on the Responsible Use of Poetry and Fiction in The Republic and The Laws". Kritike: An Online Journal of Philosophy 11, n.º 2 (1 de dezembro de 2017): 241–56. http://dx.doi.org/10.25138/11.2.a13.
Texto completo da fonte
17
Fourie, Pieter Jacobus. "Estetika van Televisievermaak". Communicare: Journal for Communication Studies in Africa 6, n.º 2 (14 de novembro de 2022): 27–35. http://dx.doi.org/10.36615/jcsa.v6i2.2088.
Texto completo da fonteResumo:
AGAINST the background of the indefinability of entertainment the author postulates a for questions that the researcher could ask in connection with the viewer's aesthetic exparience of television entertainment, par ticularly related to television fiction. The central question is: why and how does television entertain the viewer? This question leads on to the following questions: what is entertainment? The answer is that it is in definable. In the style of Plato the researcher should then ask the following: but what is it that leads the viewer to attach the value "entertainment", which is associated with pleasure and satisfaction, to television fic tion? Possible answer: catharsis due to the ability and needs of the viewer to identify with a make-believe world and characters. What makes this identification possible? Amongst other possibilities specific rhetorical motifs which have always been associated with communication pleasure and which are also present in the content (and forum) of television fiction. Is this the big answer? No. The aesthetic experience of a work (also of television) does not allow it to be described easily.
18
Deretic, Irina. "Why are myths true: Plato on the veracity of myths". Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 36, n.º 3 (2020): 441–51. http://dx.doi.org/10.21638/spbu17.2020.302.
Texto completo da fonteResumo:
Distinguishing myths in terms of their veracity had almost been neglected in Plato’s studies. In this article, the author focuses on Plato’s controversial claims about the truth-status of myths. An attempt is made to elucidate what he really had in mind when assessing the veracity of myths. The author claims that Plato, while discussing the epistemic status of myths, actually distinguished three kinds of myths in regard to what they narrate. Additionally, it is argued that he endorses three different kinds of truth value for myths: they can be either true or false, probable, or factually false but conveying some valuable truths. In the Republic II and III, Plato implicitly distinguishes the truth value of theological myths from the truth value of aetiological and normative ones, each of which are explained in detail in the article. In Plato’s view, the theological myths can be either true or false, because he determines the divine nature a priori. When ascribing the probable character to myths, Plato has in mind mostly aetiological myths. Given that we are unable to establish the truths on the origins and development of many phenomena, because they originated in the remote past, what we can do is to reconstruct plausible and consistent myths of these phenomena, which, among others, might contain the arguments and even proofs, such as the proof of the cosmic destruction in Plato’s own myth in the Politicus. In the third case, when Plato says that myths are lies, yet containing some truth, he had in mind myths which might be the product of our imagination like eschatological myths, for example. Being a kind of fiction, they are false, in the sense they do not correspond to any real state of affairs. Since they convey profound ethical norms or religious insights, they can be regarded as true.
19
Sharma Kandel, Bhanu Bhakta. "Novel: The Best Representation of Life". Janapriya Journal of Interdisciplinary Studies 9, n.º 1 (1 de julho de 2020): 1–10. http://dx.doi.org/10.3126/jjis.v9i1.46348.
Texto completo da fonteResumo:
The debate, whether literature (art) can represent reality and life well has not been concluded, coming to no universal validity, since the time of Plato. The critics and the connoisseurs of art vary in their arguments for and against, some argue that literature represents reality and life and others deny it. They value and judge literature according to their own taste and subjective impression, it is claimed not only to be realistic but also fantastic, the frenzy of human imagination. Despite all the assertions against it, most of the literary critics have accepted that literature is a representation of life, though Plato has expelled the poets from his well run republic. Modern criticism of English literature takes its major impetus from Henry James for he is the first critic who speaks about representation of reality and life in literature, in novel. He has given prominent status to novel with an argument that it represents life better and more faithfully than any other genre of literature. For the discussion of the representation of realty in literature, Henry James’ Art of Fiction has been taken into account and MLA VIII has been used for citing the works.
20
Umachandran, Mathura. "‘THE AFTERMATH EXPERIENCED BEFORE’: AESCHYLEAN UNTIMELINESS AND IRIS MURDOCH'S DEFENCE OF ART". Ramus 48, n.º 2 (dezembro de 2019): 223–47. http://dx.doi.org/10.1017/rmu.2019.18.
Texto completo da fonteResumo:
This year marks the centenary of the birth of Iris Murdoch (1919–99). She has been celebrated as one of Britain's most important postwar writers with twenty-six prose fiction novels to her name. Murdoch was also an ancient philosopher who was primarily interested in issues of moral philosophy. Pinning down her place in the Anglo-American analytic tradition of philosophy, however, is not a straightforward task. On the one hand she cut a conventional figure, holding a tutorial fellowship at St Anne's College, Oxford, from 1948 to 1963. On the other hand, her philosophical writing increasingly departed from the coordinates of analytical philosophy. As Martha Nussbaum notes in her deeply ambivalent review of Murdoch's The Fire and the Sun: Why Plato Banished the Artists, Murdoch is ‘a novelist whose best work is deeply philosophical, a philosopher who has stressed…the special role that beauty can play in motivating us to know the good, …a Platonist believer in human perfectability, and an artist.’ Nussbaum points us towards understanding two key elements in Murdoch's thought: her commitment to Plato and the manner in which Murdoch's activity as philosopher and novelist should be considered as interdependent.
21
Алисеенко О. Н. "К ВОПРОСУ О СПЕЦИФИКЕ РЕНЕССАНСНОГО ПАСТОРАЛЬНОГО ХРОНОТОПА И ПУТЕЙ ЕГО ДАЛЬНЕЙШЕЙ МОДИФИКАЦИИ". International Academy Journal Web of Scholar 2, n.º 8(38) (31 de agosto de 2019): 22–27. http://dx.doi.org/10.31435/rsglobal_wos/31082019/6660.
Texto completo da fonteResumo:
The specific character of the Renaissance pastoral chronotop as well as the ways of its further modification has been under consideration in the article provided. It has been proved that semantic background of pastoral chronotop as the specific fiction time and space predominant to the Renaissance stage of pastoral transtext development encloses a number of significant determinants. The definite components are closely connected with the Renaissance interpretation of Plato by the Neoplatonists, i.e. the predominance of the spacial existence, the idea of the community, the tradition of the demythologization of the novel space, the relatedness of the Renaissance pastoral chronotop with the ethico-philosophical complex “Love-Beauty-Good” which has become classical.
22
Sansom, Clare. "Genetics, Bioethics and Space Travel: GATTACA". Biochemist 34, n.º 6 (1 de dezembro de 2012): 34–35. http://dx.doi.org/10.1042/bio03406034.
Texto completo da fonteResumo:
It has been said that all stories set in the future say more about the concerns of the time in which they are written than they do about future possibilities. Long before the genome era, writers were investigating the possibility of changing the biological make-up of humans. Questions about human biology, identity and eugenics (from the Greek ‘well-born’) have been raised by writers ever since Plato; classic novels addressing these issues include H.G. Wells's The Island of Doctor Moreau (1896) and Aldous Huxley's Brave New World (1931). Eugenics in fiction passed out of fashion after the Second World War, but recent developments in genetics and genomics have brought these ideas into the foreground again.
23
Davies, Benjamin R. "Growing Up Against Allegory: The Late Works of J. M. Coetzee". Novel 53, n.º 3 (1 de novembro de 2020): 419–35. http://dx.doi.org/10.1215/00295132-8624606.
Texto completo da fonteResumo:
Abstract The first two books of J. M. Coetzee's recent trilogy, The Childhood of Jesus (2013) and The Schooldays of Jesus (2016), are extremely strange. Just when “the Australian fiction,” following the works set in South Africa and various international locations, was thought to be the last phase of Coetzee's career, the Nobel laureate changed tack. The Jesus books challenge readers and critics with their sparse tone, lengthy philosophical dialogues, and allegorical obscurity. Their difficulty seems to shed little light on some of the most intriguing questions about Coetzee's writing: namely, its form and its interaction with allegory. Beginning with a reappraisal of a classic work of Coetzee studies, this essay then lays out a theory about the connection between reading and writing allegory within traditions of what constitutes a “novel.” In the second section, examples from Coetzee's earlier fiction are analyzed, with focus on In the Heart of the Country (1977) and Boyhood (1997). Parental roles are found to be vital in the connections between the novel form and allegory. The third section applies these analyses to Childhood and Schooldays. Focus on the books’ references to Plato and Don Quixote helps scrutinize their philosophy and reach the thesis of this essay: that with these books, Coetzee experiments with a form that goes beyond the novel.
24
Bertolini, Elisa. "Micro Remote Islands: Lands of Freedom or Lands of Despotism?" Pólemos 14, n.º 2 (25 de setembro de 2020): 277–96. http://dx.doi.org/10.1515/pol-2020-2018.
Texto completo da fonteResumo:
AbstractThe paper addresses the narrative that qualifies micro and remote islands as lands of freedom, suggesting that they can also be lands of despotism. Philosophers from Plato to Aristotle, to Thomas More, to Montesquieu and Rousseau have claimed that micro polities, preferably insular, represent the ideal society, where everyone is actively engaged in public affairs and pursues common good. Literature has represented islands as lands of freedom, opportunity, challenge, success, adventure, redemption, away from the corruption of Europe. However, in the nineteenth century a new narrative has emerged in fiction, which abandons this idyllic approach: islands as lands of despotism. Islands are interpreted as lawless lands, characterised by rivalries between individuals. Moving from these contrasting suggestions from literature and philosophy, the paper discusses the constitutional arrangements of Commonwealth Caribbean and Pacific micro states, in order to investigate where they stand with respect to the dialectic freedom/despotism.
25
Hilding, Paul. "Taps". After Dinner Conversation 2, n.º 7 (2021): 5–19. http://dx.doi.org/10.5840/adc20212760.
Texto completo da fonteResumo:
Do you have the right, or even the obligation, to disobey laws that you find personally unjust? In this work of philosophical short story fiction, John is a trumpet player that is called by the VA to play taps at the funeral of a Vietnam veteran. He plays at many funerals for veterans as a penance for having fled to Canada to avoid the draft. John goes to the bridge where Daniel previously lived and finds his camp, complete with purple heart and copy of The Collected Dialogues of Plato. Daniel marked several pages in “Crito” outlining the death of Socrates. Like John, Daniel had disagreed with the war, but decided to serve anyway. Upon his return he went to college, but had a breakdown and was unable to finish. John visits the local church, and visits Daniel’s sister. In the end, he plays taps at Daniel’s funeral while still coming to terms with his own, different, choices.
26
Kenaan, Vered Lev. "Delusion and Dream in Apuleius' Metamorphoses". Classical Antiquity 23, n.º 2 (1 de outubro de 2004): 247–84. http://dx.doi.org/10.1525/ca.2004.23.2.247.
Texto completo da fonteResumo:
Abstract Considering the absence of any ancient systematic approach to the reading of the novel, this paper turns to ancient dream hermeneutics as a valuable field of reference that can provide the theoretical framework for studying the ancient novel within its own cultural context. In introducing dream interpretation as one of the ancient novel's creative sources, this essay focuses on Apuleius'Metamorphoses. It explores the dream logic in Apuleius' novel by turning to such authorities as Heraclitus, Plato, Cicero, Artemidorus, and Macrobius, whose characterization of the phenomenon of dreaming sheds light on specific narratological trtaits of theMetamorphoses. It argues that the lower dream category, the insomnium (or the enhupnion), provides a notion of textuality that can clarify the traditional status of the Metamorphoses as a marginal work of art. In contrast to divinely sent symbolic dreams, it is primarily the insomnium——conceived as a by-product of the lower functions of the soul——that lends psychological force to Apuleius' fiction.
27
Romano Ribeiro, Ana Cláudia. "Intertextual connections between Thomas More’s Utopia and Cicero’s De finibus bonorum et malorum". Moreana 51 (Number 195-, n.º 1-2 (junho de 2014): 63–84. http://dx.doi.org/10.3366/more.2014.51.1-2.7.
Texto completo da fonteResumo:
In 1516, More wrote to Erasmus, putting him in charge of the publication of Utopia. In his study about the “sources, parallels and influences” of More’s libellus, Edward Surtz points out that “the most evident influences are classical” and in 1965, in the introduction of his edition of Utopia, he noted that in the composition of this fiction, Plato and Plutarch are as essential as Cicero and Seneca. He also noted that these philosophers are “the source for the tenets and arguments of the two schools discussed by the Utopians, the Epicurean and the Stoic” and that “Cicero’s De finibus is of special interest here, but detailed studies of Ciceronian and Senecan influences have still to be made.” (p.cliv, clxi). From 1965 until today we haven’t found a specific study on this problem in the bibliography about Utopia and classical Latin literature, that’s why in this paper we will examine some of the connections that link More’s libellus to De finibus.
28
Tamošaitis, Mantas. "Augustine’s critique of representation in arts: Confessions". Literatūra 61, n.º 3 (20 de dezembro de 2019): 75–85. http://dx.doi.org/10.15388/litera.2019.3.6.
Texto completo da fonteResumo:
This article is concerned with the critique of representation in art found in Augustine’s Confessions. The aim of the author is not only to reveal the fundamental influence of Plato and Aristotle on Augustine’s criticism, but to show the unique aspects of Augustine’s thought. The article considers Augustine’s critique of art in the Confessions to be three-fold: the ontological critique, the ethical (psychological) critique of intention and the critique of pagan ethos in art. The article considers the ontological critique as based on the neoplatonic dualism of body and soul as well as the platonic concept of image. Therefore Augustine considers artistic representation to be three-times removed from reality and sees the experience of God as the perfect aesthetical experience. Author states that the ethical critique considers art as a form of idolatry, which projects the innermost desires of the soul (the desire of God) onto the material pleasures of the outer world. Even though Augustine’s thinking is based on the Aristotelian concept of catharsis, the conclusions are entirely different – in Augustine’s opinion the aesthetical experience does not free the audience of its corporal appetites. Quite the contrary, the appetites get more intense. It should also be brought to the attention of the reader, that Augustine holds a certain hostility towards theatre and pagan literature as a pagan social practices. Augustine develops the thought of these Greek philosophers from the Christian point of view and bases his ethical critique of the aesthetic experience along with the critique of aesthetic practices on it. Moreover, he is more open to the concept of art as a fiction than Plato.
29
Protopopova, Irina. "The Socratic question: old problems and new trends". ΣΧΟΛΗ. Ancient Philosophy and the Classical Tradition 13, n.º 1 (2019): 330–38. http://dx.doi.org/10.25205/1995-4328-2019-13-1-330-338.
Texto completo da fonteResumo:
The article deals with new approaches to the solution of the so-called “Socratic question” associated with the search for a “historical” Socrates in different sources. The author outlines the history of the issue starting with Schleiermacher and his distinction between the images of Socrates in Plato and Xenophon. It is shown how, at the beginning of the 20th century, a consensus on the authenticity of Plato’s Socrates was reached (Robin, Taylor, Burnet, Maier), and then a sceptical view on the possibility itself to ever solve the “Socratic question” developed (Gigon). Vlastos’ position, which became influential in the late 20th century, is considered: he believed that Socrates of early Platonic dialogues is “historical”, while Socrates of the middle dialogues is a fiction of Plato’s. The second part of the article provides a brief overview of the six editions devoted to Socrates in 2006–2018, and the conclusion is made that there is an obvious trend towards a return to the sceptical position of Gigon in regard to the “Socratic question”.
30
Hartglass, Craig. "Notes From The Struggle". After Dinner Conversation 3, n.º 11 (2022): 72–88. http://dx.doi.org/10.5840/adc2022311106.
Texto completo da fonteResumo:
Why does society seem to support the leadership of bully strongmen? In this work of philosophical short story fiction, the narrator is visiting his friend Tomas. They have been of-and-on friends for years, but now Tomas is dying. Over drinks, they reflect on their lives while Tomas retells the story of a baboon tribe he read about. The baboon tribe was run by vicious leaders and violence was common. Until, one day, they found a trash heap. The largest, most dominant members ate from the heap, while the less aggressive were denied access. Eventually, the trash gives the baboon’s tuberculosis, and all the aggressive males die off. The passive males reform the tribe as an egalitarian paradise of sharing. As soon as baboons from the outside tribes try to enter, they quickly learn they will be pushed out unless the adopt the kinder ways. This goes on for six generations. Plato argued humans were too stupid to trusted with voting in a democracy. The baboons might tend to agree.
31
Wilper, James P. "Platos and Woman-Haters: Male-Male Love in the Fiction of Fin-de-Siècle Austria: Emerich von Stadion’s “Leonor” (1868) and Leopold von Sacher-Masoch’s Die Liebe des Plato (1870)". Journal of Austrian Studies 48, n.º 4 (2016): 77–93. http://dx.doi.org/10.1353/oas.2016.0015.
Texto completo da fonte
32
Chung, Iksoon. "The problems of identity of Robinson Crusoe in the 18th century novel". Korean Society of Human and Nature 4, n.º 1 (30 de junho de 2023): 11–33. http://dx.doi.org/10.54913/hn.2023.4.1.11.
Texto completo da fonteResumo:
The 18th century in England was a period when theories and discourses were being seriously discussed. While achieving political stability in industrious revolution, the scientific interpretation of classics and the spirit of a new era in the novels influenced the direction of human life. The novel gave birth to a new human identity. The most representative novel among them is Robinson Crusoe by Daniel Defoe. The characters in the novel show the attributes of human identity in ideal culture and society. They produce the meaning of a new identity in the events. Although they are ordinary people, they reproduce human life as the epitome of intellectuals in buildungsroman. Here we consciously believe identity is interpreted differently depending on who the subject of the action accordingly is. Furthermore, we understand human behavior by looking at their possible action and personality. Identity is perceived as terms such as paradox, image, existence, and hypothesis are related to human life. Therefore, identity in the situation requires objects that can imitate human beings. Even though identity in a novel is a fiction, we match identity with a specific character. This paper studies how to recognize identity through the works of Plato, Aristotle, and Crusoe who is the main character of Robinson Crusoe.
33
Madson, Luke N., e Amy C. Smith. " Oligarchia Revisited". Klio 106, n.º 1 (16 de maio de 2024): 58–99. http://dx.doi.org/10.1515/klio-2023-0022.
Texto completo da fonteResumo:
Summary This article revisits an ostensibly important monument in Classical Attic historiography: the so-called Tomb of Critias, as preserved in a scholium note in Aeschines’ “Against Timarchus” (1.39). We survey prior scholarly positions on the realia of this monument, suggest it is a fiction, and consider the possible sources for the hexameter verse associated with it. We argue that the poetic composition from which the entire tradition derives, rather than being an inscription on a tomb, may in fact be an oligarchic commemoration, perhaps an encomium or epitaphios logos recited at Eleusis in the aftermath of the fall of the Thirty. As such, the verse composition may allude to a historiographical tradition that viewed the Thirty as a subversive hetaireia/kōmos group led out to govern the unruly dēmos. The reception of this composition generates a ‘lieu de mémoire’ in the historical imagination of later readers. The composition offers a piece of comparanda for the political views expressed by other Athenians with pro-oligarchic tendencies, an extreme formulation that strongly contrasts with the extant writings of Critias, Plato, and Xenophon. In revisiting this short anecdote we highlight the relevance of both scholia and monuments in our understanding of Attic historiography.
34
Frendo, Maria. "Bored to Death: Improvisations on a Theme". CounterText 1, n.º 3 (dezembro de 2015): 304–31. http://dx.doi.org/10.3366/count.2015.0025.
Texto completo da fonteResumo:
Since Petronius and Ovid wrote about the Sybil lamenting the loss of her freedom, which she had traded for eternal life, boredom has not ceased to fascinate and allure. Plato and Aristotle broached the topic philosophically, followed by a whole range of philosophers, writers, painters, and musicians. In this paper, Maria Frendo traces a genealogy of a host of characters in fiction and literary tradition who are afflicted by boredom, from Petronius’ Sybil to Beckett's Vladimir and Estragon, from Shakespeare's Antonio to Tennyson's Lotos-Eaters, from Huysmans’ Count des Esseintes to Eliot's Prufrock, but not forgetting woman: signally, through Flaubert's Emma Bovary. The essay's development and focus bear on two further considerations: firstly, the relation of boredom with death and desire, whereby the longing for relief from the situation in which one is trapped is accompanied by disinclination to resist and an accommodation to paralysis; and, secondly, patterns of duality and doubling across a good number of the predicaments depicted. Halfway through, the paper formally performs a boredom and irritation of its own in the process of highlighting existential angst and postmodernist neurosis in literature and the post-literary, and shifts its focus onto the poetry of Baudelaire and Mallarmé. This apparent randomness is deliberate: hence the subtitle ‘Improvisations on a Theme’, suggestive of thematic and structural characteristics to the paper and its argument.
35
Neretina, Svetlana. "Аmbiguous Temporality of Utopia". Chelovek 32, n.º 4 (2021): 109. http://dx.doi.org/10.31857/s023620070016690-6.
Texto completo da fonteResumo:
The article rejects the reading of Thomas More's Utopia as, first, a statement of More's own views on the ideal state and, accordingly, his definition not only as a humanist, but as a communist, and, secondly, an attempt is made to present the humanistic foundations of his ideas and ways of expressing them. These ways of expression are connected with the tropological way of his thinking, expressed through satire and irony, with an eye to ancient examples, which was characteristic of the philosophy, poetics and politics of humanism, one of the tasks of which was to try to build a new society (especially relevant in the period of geographical discoveries), architecture, an unprecedented ratio of natural objects (archimboldeski). The models for "Utopia" were the works of Plato, Lucian, and Cicero. It is written in the spirit of the times, with criticism of state structures, private property, the distinction between the private and the public, and openness to all ideas. Intellectual disorientation of readers is a specific creative task of More writer, his test of their ability to quickly change the optics, to consider history as an alternative world, radically different from our own, but connected with it. Thanks to an extremely pronounced intellectual tension, it goes beyond the limits of time, like the works of Plato, Aristotle, Augustine, Marx... Utopia can be represented as a dystopia, if we take into account the performative nature of the latter, which contributes to the instantaneous translation of words into action, realizing the world of utopia. Dystopia is the answer to utopia with a change of sign: about the same thing, changing the optics, you can say "yes" and "no". This means that in the modern world, indeed, and for a long time, virtual consciousness becomes little different from the real one, and imagination replaces the theoretical position, acquiring its form, turning theory into fiction. A hypothesis is put forward about the presence of many utopian countries in" Utopia": Achorians, Polylerites, Macarians, Anemolians.
36
Strijdom, Johan M. "A Jesus To Think With and Live By: Story and Ideology in Crossan's Jesus Research". Religion and Theology 10, n.º 3-4 (2003): 267–95. http://dx.doi.org/10.1163/157430103x00088.
Texto completo da fonteResumo:
AbstractThe aim of this article is to challenge Crossan in two related fronts. First, concerning 'story': did ancient authors consciously reflect on the distinction between fact and fiction, history and myth, literal and metaphorical? Could they view myths as made-up tales about divine intervention ? Further, could they question the reality of divine intervention as such, or were these questions introduced only much later by the Enlightenment and then illegitimately projected onto antiquity, as Crossan holds? My answer refers to the evidence in Thucydides, the Hippocratic corpus and the Gnostics, but focuses especially on Plato's conscious manipulation of the myths of Atlantis and the metals. I also respond to Crossan's understanding of the Platonist Celsus. Secondly, concerning 'ideology': if jesus'message and program were about systemic justice as distributive egalitarianism, about non-violent but provocative protest against violent and oppressive imperialism, how do his vision and life then relate to ancient and modern views on and practices of social justice? My objection is that whereas Crossan correctly emphasizes the concern for a just society in the Jewish and Near Eastern traditions, he underestimates the contribution of Greco-Roman paganism (except for the Cynics) in this regard. By means of a cursory discussion of Hesiod, Solon, and Socrates, and a more elaborate treatment of Plato, Aristotle and the Stoics (eg, Musonius Rufus and Seneca) I indicate just how important such a nuanced comparison is.
37
Grigoriadou, Virginia J. "The Precursors of Scientific Models in Ancient Egypt, Mesopotamia, and Ancient Greek World: A Comparative Study". European Journal of Theoretical and Applied Sciences 1, n.º 4 (6 de julho de 2023): 574–82. http://dx.doi.org/10.59324/ejtas.2023.1(4).52.
Texto completo da fonteResumo:
This research traces and examines specific examples of the precursors of scientific models that were applied in ancient Egypt, Mesopotamia, and the ancient Greek world. The main purpose of the study is to compare the way that these different civilizations used models but also the purposes of their utilization in pre-Hellenic and ancient Greek science. A core question that arose is: Can we trace the roots of the utilization of what we nowadays call ‘‘scientific models’’ in ancient Egyptian, Mesopotamian, and Greek scientific activity? Another important question is how the application of models differs in the scientific activity of these civilizations. Based on an extensive review of historical books, papers, and web sources I inferred that ancient Egyptians and Babylonians utilized tools that nowadays we call mathematical and analogue or material models and the ancient Greeks utilized theoretical, fiction, and analogue models. Moreover, while the basic function of these tools seems to remain stable throughout the centuries, the core difference is detected in the purpose of their utilization in these civilizations and is related to the orientation of their scientific activity. Specifically, the scientific activity of Egyptians and Babylonians mainly aimed at solving practical problems related to spatial planning, architecture, and agriculture as well as issues related to religion while ancient Greek ‘‘episteme,’’ according to Plato, or ‘‘natural philosophy,’’ according to Aristotle, sought the acquisition of knowledge about the natural world, the understanding, description, and explanation of natural phenomena.
38
Abu-Saud, Mahmoud. "The Methodology of the Islamic Behavioral Sciences". American Journal of Islam and Society 10, n.º 3 (1 de outubro de 1993): 382–95. http://dx.doi.org/10.35632/ajis.v10i3.2493.
Texto completo da fonteResumo:
Methodology is the means of fotmdating the principles that detetminethe guidelines for various sciences. Or, in other words, it is the systemof practices and procedures that, when applied to a specific branchof knowledge, will result in furthering the particulars of that knowledge.The concept of studying methodology is not new. In fact, some trace itback to Plato and Anstotle, who gave it special consideration. Its studyhas developed to such an extent that it has now become a science in andof itself under the fotmal title of "methodology." Its content has also become intertwined with the philosophy of the sciences themselves.Methodology in the WestWe can say with certainty that the ideological and civilizational developmentthat affected the West throughout history left profound traceson the essence of methodology. The domination of the Catholic chutchand its teptesentatives over the methods of scientific reseaTch placedlimits on rational thinking and confined it within the strictures of churchdoctrine on the concepts and principles that explained natute and humanbehavior.In those centuries, man was not the master of the univeme. Furthermote,human thought not only depended upon religious teachings but wasactually subject to it. Knowledge was in no way dependent on the soundnessof methodology. On the contrary; it was measured by God's pleasureand acceptance, since He was understood to provide knowledge and reasonwith legitimacy. Of course it was the church which, throughout thisperiod, actually expressed divine pleasure and acceptance on behalf ofGod. In this manner, the church became the only source for the discoveryof natm's sectets, and Christian dogma became the only criteria fordistinguishing between scientific fact and fiction ...
39
Sankar, G. "Nationalism in Rabindranath Tagore Plays". IJOHMN (International Journal online of Humanities) 1, n.º 3 (14 de abril de 2015): 8–45. http://dx.doi.org/10.24113/ijohmn.v1i3.11.
Texto completo da fonteResumo:
History reveals that institutions or artifacts produced by human beings can lead to the exploitation or the loss of freedom of other human beings. Thus the celebration of the good life of an Athenian citizen in Plato‟s time can hide the wretchedness of vast numbers of slaves whose labor made it possible for the few free citizens to enjoy that good life. Our criteria then must apply to all, or at least the vast majority of the vast of the human group concerned, if they are to lay claim to universality. Amiya Kumar Bagchi, Perilous Passage1 The story of Indo-Anglican literature is the story of yesterday, of a little more than a century, and today. One of the natural results of the British rule in India is the rise and development of literature. The term “Indo-Anglican” was first used in 1883 when a book published in Calcutta that bore the title Indo-Anglian Literature. After the publication of two books by Dr.K.R.Srinivasa Iyengar, the term “Indo-Anglian” has not only acquired considerable currency, but also has come to stay as a familiar and accepted term applied to Indian contribution to literature in English. This has come to be known as Indo-Anglian writing and has been quite an active school of didactic and creative art for at least a century. The first theatre offering English language drama in 1776, Indian drama in English has never achieved the same status as Indian fiction and poetry in English. As in other colonies such as Canada, the Indian theatrical scene was dominated by foreign companies, touring plays drawn mainly from
40
Skinner, Nicholas F. "Academic Folk Wisdom: Fact, Fiction and Falderal". Psychology Learning & Teaching 8, n.º 1 (janeiro de 2009): 46–50. http://dx.doi.org/10.2304/plat.2009.8.1.46.
Texto completo da fonte
41
Ishchenko, Olena, e Anna Chernysh. "ESSAY AS A PRIORITY GENRE OF ACADEMIC WRITING". Fìlologìčnì traktati 14, n.º 2 (2022): 47–55. http://dx.doi.org/10.21272/ftrk.2022.14(2)-5.
Texto completo da fonteResumo:
The article is devoted to the understanding of the essay as a genre, which is of exceptional importance for the "Academic Writing" course. It is noted that the origins of the essay genre can be traced in the works of ancient authors (Plato, Isocrates, Marcus Aurelius), famous philosophers of the past (J. Addison, Voltaire, D. Diderot, H.-E. Lessing, J. Locke, O. Goldsmith, G. Frying pan, etc.). Later, the genre received its logical continuation in the work of foreign artists (H. Wells, J. Galsworthy, T.-S. Eliot, A. Camus, G. and T. Mann, J. P. Sartre, B. Shaw, etc.) and Ukrainian authors representing various literary periods and currents (Yu. Andruhovych, V. Vynnycheko, O. Honchar, I. Drach, M. Dochynets, E. Malanyuk, Yu. Lypa, U. Samchuk, T. Shevchenko, Yu. Shereh, etc.). It was determined that in the scientific discourse, an essay is traditionally understood as a prose work with an arbitrary composition, which is characterized by the fictionalization of recorded individual impressions, associations or information obtained from various fields of knowledge, an unsystematic combination of philosophical, literary-critical, popular science, and sometimes specifically scientific elements. The research emphasizes the desire of modern researchers to distinguish the meaning of the terms “essay” and “academic essay”, which is explained by practical needs, since the concepts function in different planes (fiction and teaching methods). The article focuses attention on the integration of the literary concept into the field of methodology. It has been found that in modern scientific studios, attention to the essay as a priority type of work in classes on the “Academic Writing” is increasing. This is explained by the orientation towards foreign models of the organization of the educational process. It is noted that at Sumy State University, during classes on the “Fundamentals of Academic Writing” course, studying the features of the essay genre is a priority. After acquiring theoretical knowledge, students represent creative work, thanks to which written and oral scientific communication is activated, and, therefore, the goal of the educational discipline is realized.
42
Silva, Felipe Vale da, e Sabrine Ferreira da Costa. "A literariedade do discurso platônico: uma análise cenográfica da República I (327a a 331d)". Revista Leitura, n.º 65 (26 de março de 2020): 41–47. http://dx.doi.org/10.28998/2317-9945.202065.41-47.
Texto completo da fonteResumo:
O artigo analisa a cena de abertura de A República de Platão a partir de ferramentas dos estudos literários e da historiografia, levando em conta contribuições recentes da crítica platônica anglo-germânica. Se, por um lado, persiste a ideia de que na República se encontra um manifesto contra a ficção literária — encarada como um registro potencialmente falsificador da realidade —, há de se considerar, por outro, quão artisticamente elaborado o diálogo socrático é. Argumentamos que o próprio formato dialógico do texto impede uma interpretação de Platão como um racionalista dogmático, cético ante o potencial da poesia. Ao contrário, o jogo entre expectativas genéricas, ao qual somos expostos desde os embates iniciais entre as personagens Sócrates, Glauco, Trasímaco e Céfalo — em trechos que vacilam entre o registro dramático e a filosofia —, exige tanto uma reapreciação dos posicionamentos platônicos perante as belas artes, quanto uma reconsideração do peso de cenários, personagens e tempos narrativos como elementos constituintes da argumentação filosófica. The literariness of the platonic discourse: a scenographic analysis of the Republic I (327a to 331d)The article aims to analyze the opening scene of Plato’s Republic based on literary studies and historiography devices, taking into account recent contributions from Anglo-Germanic Platonic studies. If, on the one hand, the idea that in the Republic one may find a manifesto against literary fiction — taken as a potentially falsified version of reality — still persists, one has also to consider, on the other hand, how artistically elaborated is the Socratic dialogue. We will argue that the dialogical format of the text itself precludes an interpretation of Plato as a dogmatic rationalist, skeptical towards the potential of poetry in general. Rather, the play between generic expectations and what one already finds in the opening discussions among the characters Socrates, Glaucus, Thrasymachus and Cephalus — in scenes that waver between the dramatic format and philosophy — require not only a re-examination of Plato’s claims on the arts, but also of the value of scenarios, characters and narrative temporality as constituent elements of philosophical argumentation. DOI: 10.28998/2317-9945.2020n65p41-47
43
Petrovic, Ivana, e Andrej Petrovic. "General". Greece and Rome 65, n.º 2 (17 de setembro de 2018): 282–97. http://dx.doi.org/10.1017/s0017383518000244.
Texto completo da fonteResumo:
I was very excited to get my hands on what was promising to be a magnificent and extremely helpfulHandbook of Rhetorical Studies, and my expectations were matched – and exceeded! This handbook contains no less than sixty contributions written by eminent experts and is divided into six parts. Each section opens with a brief orientation essay, tracing the development of rhetoric in a specific period, and is followed by individual chapters which are organized thematically. Part I contains eleven chapters on ‘Greek Rhetoric’, and the areas covered are law, politics, historiography, pedagogy, poetics, tragedy, Old Comedy, Plato, Aristotle, and closing with the Sophists. Part II contains thirteen chapters on ‘Ancient Roman Rhetoric’, which similarly covers law, politics, historiography, pedagogy, and the Second Sophistic, and adds Stoic philosophy, epic, lyric address, declamation, fiction, music and the arts, and Augustine to the list of topics. Part III, on ‘Medieval Rhetoric’, covers politics, literary criticism, poetics, and comedy; Part IV, on the Renaissance contains chapters on politics, law, pedagogy, science, poetics, theatre, and the visual arts. Part V consists of seven essays on the early modern and Enlightenment periods and is decidedly Britano-centric: politics, gender in British literature, architecture, origins of British Enlightenment rhetoric, philosophy (mostly British, too), science, and the elocutionary movement in Britain. With Chapter 45 we arrive at the modern age section (Part VI), with two chapters on feminism, one on race, and three on the standard topics (law, political theory, science), grouped together with those on presidential politics, New Testament studies, argumentation, semiotics, psychoanalysis, deconstruction, social epistemology, and environment, and closing with digital media. The volume also contains a glossary of Greek and Latin rhetorical terms. As the editor states in his Introduction, the aim of the volume is not only to provide a comprehensive history of rhetoric, but also to enable those interested in the role of rhetoric in specific disciplines or genres, such as law or theatre and performance, to easily find those sections in respective parts of the book and thus explore the intersection of rhetoric with one specific field in a chronological sequence.
44
Silva, Maurício. "Percursos pós-modernistas: hibridismo e simulação na ficção de Luiz Ruffato". Caligrama: Revista de Estudos Românicos 23, n.º 1 (24 de maio de 2018): 67. http://dx.doi.org/10.17851/2238-3824.23.1.67-78.
Texto completo da fonteResumo:
Resumo: O presente trabalho tem como objetivo analisar a prosa de ficção de Luiz Ruffato – em especial seu livro Flores artificiais (2014) – sob a perspectiva do hibridismo (considerando, em especial, o conceito de hibridismo identitário, proposto por Stuart Hall) e da simulação (considerando, em especial, o conceito de simulacro, proposto por Jean Baudrillard). A intenção deste artigo é demonstrar como a prosa de ficção de Luiz Ruffato incorpora, no plano da narrativa, mas também no da linguagem, ambos os conceitos acima aludidos, fazendo deles categorias estruturantes de sua produção ficcional.Palavras-chave: Luiz Ruffato; literatura brasileira; hibridismo; simulação; pós-modernidade.Abstract: This article aims to analyze the Luiz Ruffato fiction – especially his book Flores Artificiais (2014) – under the hybrid approach (considering in particular the concept of hybridity identity proposed by Stuart Hall) and simulation (considering in particular the concept of simulacrum, proposed by Jean Baudrillard). This article intents to demonstrate how to Luiz Ruffato prose fiction incorporates both concepts alluded above into the narrative plan, and also in language, making them structuring categories of his fictional production.Keywords: Luiz Ruffato; Brazilian literature; hybridity; simulation; post-modernity.
45
Brockstieger, Sylvia. "Poetisches Wissen". Daphnis 49, n.º 1-2 (30 de março de 2021): 167–87. http://dx.doi.org/10.1163/18796583-12340008.
Texto completo da fonteResumo:
Abstract This article examines sociability as a literary and poetic factor which reacts to real-world manifestations of social interaction. Using the pastoral text Des Hylas auß Latusia Lustiger Schau-Platz von einer Pindischen Gesellschaft (1650) as an example, the article develops how the specifically ‘bourgeois’ quality of the text may be redefined under the auspices of a particularly ‘literary sociability’ against the background of a critical revision of common genre assignments. This kind of ‘literary sociability’ results mainly from the narrative structure of the text and the skillful play between fictional and factual signals. In this way, the article also contributes to shedding light on the practice of fiction(ality) in the early modern period.
46
Bryan, Jenny. "Philosophy". Greece and Rome 65, n.º 2 (17 de setembro de 2018): 269–77. http://dx.doi.org/10.1017/s0017383518000220.
Texto completo da fonteResumo:
Three recent volumes indicate a growing appreciation of the significance and complexity of Plato's account of mousikē in the Laws. Anastasia-Erasmia Peponi's edited work, Performance and Culture in Plato's Laws, collects fifteen diverse chapters by prominent scholars in Greek literature, philosophy, and culture to produce an immensely rewarding and original range of perspectives on Plato's treatment of performance and poetics in the Laws. As Peponi notes in her brief introduction, the complexity of the cultural background that Plato manipulates and appropriates in the Laws, as well as the intricacy of the Platonic appropriation itself, combine to present a very real challenge to any scholar seeking to understand them. In addition, it is hard to see that any robust treatment of the Laws’ political theory can avoid getting to grips with the fundamental connections between politics and performance established within the dialogue. Any reader with an interest in either Plato's political philosophy or his poetics will be well rewarded by time spent with this volume. The chapters are divided into four sections, which focus in turn on issues of cultural identity (‘Geopolitics of Performance’), the role of the choruses in Magnesia (‘Conceptualising Chorality’), the Laws’ treatment of genre (‘Redefining Genre’), and the later reception of the Laws’ poetics (‘Poetry and Music in the Afterlife of the Laws’). In the second of the volume's two chapters on cultural identity, Ian Rutherford considers the Laws’ representation of Egypt as a culture that successfully resists political and moral decline via a commitment to stability in mousikē. Setting Plato's account against the external evidence, Rutherford suggests that the Laws offers a partial fiction of stable Egyptian mousikē, useful not least for the implications of its possible critical connection to Dorian culture. In the last of five chapters on the Laws’ interest in the civic apparatus of choral performance, Peponi demonstrates the singularity of choral performance in the work. Whereas the Laws treats most types of performance as producing pleasure in the spectator, in the case of choruses, the emphasis is on the pleasure and experience of the performers. Peponi argues that this shift in focus represents a Platonic attempt to ‘de-aestheticize’ the chorus. In this way, Plato seeks to rehabilitate mousikē by divesting it of the psychological and aesthetic flaws identified in the Republic’s extended critique. However, as Peponi notes in conclusion, the Laws is not altogether comfortable with this sort of performative pleasure. In the first of five chapters on genre, Andrea Nightingale discusses the Laws’ manipulation of generic diversity in service of the unified truth represented by the law code at its heart. Nightingale presents a fascinating and original analysis of the law code as a written text rather different in character from that criticized in the Phaedrus as a pharmakon that destroys our memory of truth. Rather, it serves to encourage the internalization of truths by obliterating the citizens’ memories of previous unwanted cultural norms. In the volume's final chapter, Andrew Barker turns to Aristoxenus for help in making sense of Plato's suggestion that music can be assessed as ‘correct’ or ‘incorrect’, or as ‘good’ or ‘bad’. Contrasting the Platonic focus on mimesis and ethical correctness with Aristoxenus’ assessment of music ‘by the standard of its own intrinsic values’ (413), Barker suggests that, of the two treatments, Plato's is the furthest removed from general Greek opinion. These varied and illuminating chapters are representative of the scope and quality of the volume, which not only serves to open up new directions for research on the Laws but also makes plain that the Laws is at least as important as the Republic for a thorough understanding of Plato's views on art and culture, and their relation to politics.
47
Hart, Jonathan Locke. "Aesthetics and Ethics Intertwined: Fictional and Non-Fictional Worlds". Interlitteraria 22, n.º 2 (16 de janeiro de 2018): 236. http://dx.doi.org/10.12697/il.2017.22.2.3.
Texto completo da fonteResumo:
Montaigne and Las Casas are important thinkers and writers, as are many others, including Shakespeare, as a poet, whose work is complex enough in its modernity that it would be hard to condemn him as a poet as Plato did Homer. Aristotle analyzed Greek tragedy to see how it worked in terms of a framework of anagnorisis and catharsis, that is, recognition and the purging of pity and terror. Shakespeare revisits and reshapes Homer in Troilus and Cressida and remakes Plutarch in Julius Caesar and Antony and Cleopatra while playing on the classical epic and mythological themes in Venus and Adonis and Rape of Lucrece. Plato, a poet as well as a philosopher, and a great writer if one does not like those categories, may have feared the poet within himself. Although assuming with Plato that philosophy is more universal and just than poetry, Aristotle takes the analysis of poetry and drama seriously in Poetics, and also discusses ethics, aesthetics and style in Rhetoric. So, while I discuss Plato as a framework, I am not presuming that writing on the relations among the good, the true, the just and the beautiful stop with him. I am also making the assumption that Las Casas, Montaigne, Shakespeare and other poets and writers deserve to be taken seriously in the company of Plato. Las Casas and Montaigne respond to radically changing realities and shake the very basis of traditional ethics (especially in understanding of the “other”) and work in harmony with the greatest poets and writers of a new era often called modernity like Shakespeare, who is in the good company of Manrique, Villon, Ronsard, Du Bellay, Juan de la Cruz, Luis de León, Lope de Vega, Quevedo and Calderón. Long before, Dante and Petrarch were exploring in their poetry ethical and aesthetic imperatives and broke new ground doing so. Nor can Las Casas and Montaigne be separated from other great writers like Rabelais and Cervantes, who carry deep philosophical and ethical sensibility in their work while responding to reality by providing aesthetically – even sensuously – shaped images that always leave a margin for ambiguity because conflicts are part of an ambiguous reality.
48
Hill, Eugene D., e Elizabeth Bieman. "Plato Baptized: Towards the Interpretation of Spenser's Mimetic Fictions." Sixteenth Century Journal 20, n.º 3 (1989): 492. http://dx.doi.org/10.2307/2540800.
Texto completo da fonte
49
Gojanovic, Boris, Gérald Gremion e Bernard Waeber. "[b]Plate-forme[/b] de vibration : efficacité ou science-fiction ?" Revue Médicale Suisse 4, n.º 166 (2008): 1712–16. http://dx.doi.org/10.53738/revmed.2008.4.166.1712.
Texto completo da fonte
50
Casteel, Sarah Phillips. "David Dabydeen’s Hogarth: Blacks, Jews, and Postcolonial Ekphrasis". Cambridge Journal of Postcolonial Literary Inquiry 3, n.º 1 (16 de dezembro de 2015): 117–33. http://dx.doi.org/10.1017/pli.2015.27.
Texto completo da fonteResumo:
Eighteenth-century satirical artist William Hogarth figures centrally in Guyanese writer David Dabydeen’s ekphrastic postcolonial fiction. In particular, Dabydeen’s novels A Harlot’s Progress and Johnson’s Dictionary invoke plate 2 of Hogarth’s 1732 series A Harlot’s Progress, which depicts the encounter of a cuckolded Jewish merchant, his mistress, and a turbaned slave boy.In this article, I argue that Dabydeen’s strategy of introducing visual intertexts into his fiction encourages a comparative reading of the representational regimes that historically have shaped popular perceptions of blacks and Jews. Situating Dabydeen’s Hogarth novels as part of a larger tradition in postwar Caribbean writing of advancing an identificatory reading of Jewishness, I examine how Dabydeen’s novels illustrate the need to broaden discussions of the relationship between postcolonial and Jewish studies beyond the question of Holocaust memory.